SOCIAL CHANGE & PHOTOGRAPHY IN AMERICA

The University of Texas at Dallas—School of Interdisciplinary Studies

Semester: Spring 2011 (3 s.h.)
Course Number: AMS 4370-002 (24031) / GST 4379-002 (23883)
Days/Times: Tuesday/Thursday 1-2:15 p.m.
Location: CB 1.104

PROFESSOR INFORMATION
Instructor: Dr. Jillian M. Duquaine-Watson
Office: Hoblitzelle Hall 2.810
Office Phone: 972-883-2322
Email: jillian.duquaine-watson@utdallas.edu (do NOT contact me through eLearning)
Office Hours: Mondays and Wednesdays—Noon to 2:00 p.m.
Tuesdays and Thursdays—11:30 a.m. to 12:30 p.m.
and by appointment

COURSE DESCRIPTION
This course exposes students to a broad range of images from the tradition of American documentary photography in order to
help them better understand the role that such images play in social change. After briefly familiarizing ourselves with the
history of photography and photographic processes, we will trace the history of documentary photography in the United
States from the late 19th century to present. Topics will include urban and rural poverty, child labor, the Civil Rights
Movement and Black Nationalism, GLBT families, domestic violence, environmental issues, the social aftermath of natural
disasters (such as Hurricane Katrina), and others.

Learning activities will include a combination of readings, lecture, discussion, image analysis, and a creative project (either
using online photo databases or creating an original portfolio of images intended to affect social change in relation to a
specific topic or theme). Through this course, students will further develop their visual literacy, enhance their ability analyze
documentary images in relation to visual elements and artistic composition, and augment their understanding of the role of
documentary photography as a contributor to American social change processes.

STUDENT OBJECTIVES/LEARNING OUTCOMES

This course is designed to help students:

1. Develop visual literacy;
2. Learn the basic vocabulary learned to analyze photographs (including artistic elements);
3. Analyze photographs within particular American social and political contexts;
4. Understand the role of photographs in American social changes efforts, particularly efforts that have sought to
combat inequalities that are based on race, ethnicity, socioeconomic status, gender, and sexuality;

Students will also be provided with opportunities to enhance their skills in the following areas:
1. Critical thinking and analysis;
2. Written communication (both formal and informal);
3. Oral communication (primarily informal).

REQUIRED TEXTBOOKS AND MATERIALS

The following books are required for this course. They are available for purchase at the UTD bookstore. You are also likely
to find both new and used copies via various online sources.
Walker Evans and James Agee. Let Us Now Praise Famous Men.
 Donna Ferrato. Living with the Enemy.
Jacob Riis. How the Other Half Lives.
Tammy Cromer-Campbell. Fruit of the Orchard: Environmental Justice in East Texas.

SUGGESTED COURSE MATERIALS

Although not required, it is suggested that you have a USB drive or some other reliable method of saving the work you
produce for this course. Depending on your final course project, you may also need access to a digital camera (several are
available for checkout at the McDermott Library with student ID).

ASSIGNMENTS AND GRADING POLICY

Your final grade in this course will be determined in accordance with your performance on the following:

ATTENDANCE (100 points): Lectures, discussions, small group activities, and the other work we do from day to
day are integral to your success in this course. Attendance will be taken every day. You should strive for perfect
attendance and miss class only in rare and unavoidable circumstances. Work assigned for this class carries no less
priority than work you may have to complete for any other class or your job. Material and information will be
presented in the classroom that cannot be replicated outside the classroom or made up at a later date. You final
attendance points will be based on the percent of total classes you attended—if you attended 95% of class sessions,
your attendance points at the end of the semester will be 95.

If you miss a class because of illness, major religious observances, family emergency, or excused university
activities, it is your responsibility to notify me in advance and provide official documentation. If you miss a class
for any reason, you are responsible for finding out all assignments, content, activities, and changes in due dates
covered in class.

PARTICIPATION (100 points): Class participation involves demonstrating preparedness for class and
engagement with readings, videos, or other materials by:
summarizing key points from the assigned material
offering comments and observations
asking and answering questions
making connections between various readings
offering alternative explanations and perspectives
drawing on your experiences (as appropriate)
participating in small group activities
being an attentive listener
respecting the viewpoints and values of others.

Class participation is a vital part of your learning process because this class revolves around discussion and group
activities. It will be very difficult to do well in this course if you fail to participate actively. Individuals who fail to
participate in an active, engaged manner will earn a low participation grade as will those who dominate discussion to
the point that other voices and viewpoints are silenced.

COURSE PROJECT (150 points): For your course project, you have two options: you can create your own series
of ―social change‖ photographs (henceforth referred to as a portfolio), OR you may create a curatorial project/photo
essay using an online photography database. PLEASE NOTE: Course projects will be made available to all course
participants for viewing/comments/constructive feedback—in fact, each course participant is required to provide
feedback on projects completed by others in the course (as part of their final grade on the course project). Final
 course projects are due on Thursday, May 5—posted to the appropriate location on the course eLearning site (more
details coming soon).

Option 1—“Social Change” Photography Portfolio: Students who opt for the portfolio will choose
some contemporary social issue (sexism, racism, environmental conservation, poverty, etc.) and create a
series of 10 photographs that attempt to influence thinking about the social issue you have chosen. The
images we look at throughout the semester will provide good experience in ―reading‖ photographs and
likely provide some inspiration (in terms of subject matter, style, etc.). You will submit your portfolio in
electronic format (ie: PowerPoint). In addition to your photos, your portfolio must include a 1-2 page
introduction that concisely establishes the importance of the social issue you have chosen. In addition, you
must write a description/explanation for each image--this should be a ―short paragraph,‖ approximately 4-5
sentences (unless your subject matter warrants a lengthier description).

Option 2—Curatorial Project: Students who choose this option will curate an e-exhibit (via PowerPoint)
of 15-20 photographs that attempt to influence thinking about some contemporary social issue. There are a
number of excellent online databases that will provide you with access to tens of thousands of photographs
that you may choose from. Feel free to explore a topic that you are interested in and which you care
about—doing so will undoubtedly enhance the final ―product you create‖ as well as increase the enjoyment
you experience as you work on this project. Once you have chosen the photographs you will be using, you
should write a 1-2 page introduction that concisely establishes the importance of the social issue you have
chosen. Then, you will write a description/explanation for each image—approximately a half-page
description/analysis for each image. You will submit your final project in electronic format.

PHOTO DESCRIPTION & ANALYSIS PAPERS (10 x 15 points each =150 points): Throughout the semester,
we will engage in numerous slideshow/discussion activities. These are intended to help us not only describe what
we see in documentary photographs but also to analyze how those images relate to specific elements of social
change throughout American history. It is expected that all course participants will view the slideshows in advance
(they will be posted to the course eLearning site under the ―Slideshow/Discussion‖ portion of the ―Learning
Modules‖ tab (near the bottom of the list).

You are required to complete a ―Photo Description & Analysis Paper‖ for 10 of the 16 class sessions in which we
have a ―Slideshow/Discussion.‖ For each of the 10 sessions you choose, you will select 3 photographs from the
―Slideshow/Discussion‖ and prepare a ½-page (minimum) description/analysis of each photo (double-spaced). You
should expect to share your description/analysis as part of our in-class discussion of the photographs.

Each ―Photo Description & Analysis Paper‖ is worth up to 15 points and should represent a serious attempt to
describe and analyze the images you have chosen. These papers are due at the beginning of the class session in
which we will view and discuss the ―slideshow‖ the images are taken from. Papers will only be accepted in class, in
hard copy, on the date they are due (see syllabus), and when submitted by their respective author.

GRADING
There are 500 points possible in this course as determined by the assignments described above:

Attendance (100 points)

Participation (100 points)
Course Project (150 points)
Photo Description & Analysis Papers (150 points)

Final course grades will be assigned according to the following scale:

Points Grade Points Grade

490 - 500 A+ 370 – 384 C
470 - 498 A 350 – 369 C-
 450 - 469 A- 335 - 349 D+
435 - 449 B+ 329 - 334 D
420 - 434 B 300 - 319 D-
400 - 419 B- 299 & below F
385 - 399 C+

COURSE & INSTRUCTOR POLICIES

Assignment Format
Your assignments must adhere to the following formatting requirements (unless noted on an individual assignment handout):
The following information must be included (single-spaced) at the top left margin of the first page only: your name,
the title of the assignment ( ie: Photo Analysis Paper #7), my name, the date submitted (all on one line).
All margins must be 1 inch.
Font of your document should be Times New Roman, 12-point type.
The body/content of your document must be double-spaced.
Choose a standard citation style—APA, MLA, or Chicago.
Graphics, tables, and illustrations need to be clearly identified and explained.
Documents must be free of spelling, punctuation, and grammatical errors.
Sources must be documented and/or quoted appropriately in the text as well as in the References/Bibliography at the
end of your document.
Multiple pages MUST be stapled together.

NOTE: Failure to adhere to formatting requirements may result in your assignment being considered ―incomplete‖ and,
therefore, unacceptable.

Late Work: Deadlines are a serious matter. Missed deadlines cause delays and administrative headaches. In the professional
world, they can also compromise professional reputations and careers. For these reasons, late or incomplete work is not
acceptable in this course. Technological problems are not valid excuses for late work, so plan accordingly. Moreover, no
late or makeup submissions will be accepted without appropriate documentation.

Extra Credit: I do not curve individual items, nor do I offer ―extra credit‖ work or ―special consideration‖ to allow students a
chance to raise their grade. If a personal situation arises during the semester that may affect your classroom performance,
please talk to me sooner rather than later. If you wait until the end of the semester, I won‘t be able to help you. However, I
can work with you more easily if you speak to me when the situation arises.

Classroom Citizenship: All members of our classroom learning community are expected to communicate in a civil,
respectful, and professional manner. Disagreement is acceptable (and even expected in college-level courses); disrespect,
however, has no place in this or any classroom.

Technology Requirements: The course is taught using eLearning, and you should develop the habit of checking both
eLearning and your UTD email often for assignments and announcements. Reliable and frequent internet connectivity is
indispensable. It is your responsibility to ensure that you have access to the course through eLearning for the duration of the
semester. Failure to check UTD or eLearning email, errors in forwarding email, and email bounced from over-quota
mailboxes are not acceptable excuses for missing course-related emails or announcements.

Additionally, to protect your privacy rights, I will only send email through your official UTD email address or eLearning
email. If you choose, you can redirect both of these addresses to external addresses.

Classroom and Equipment Use Policies: No laptops, cell phones, pagers, or other electronic messaging services may be
used in the classroom. I recognize that many of us carry cell phones and other electronic communication devices so we can
be contacted in the event of emergencies or other serious situations. During class time, however, I expect all members of our
classroom learning community to turn these off or set them to vibrate/silent.
A Note for Students who are Parents: If circumstances arise that necessitate your absence from class—such as the illness of
your child, the closing of your child‘s daycare center due to inclement weather, etc.—please contact me as soon as possible
so we make arrangement to keep you up-to-date with course material and activities.

For information about UTD academic policies, including student conduct and discipline, incomplete grading policy,
and similar matters, please visit:

http://go.utdallas.edu/syllabus-policies

COURSE CALENDAR

We will make every effort to maintain the following schedule. However, if changes become necessary, they will be posted to
the course eLearning site in a timely manner.

Week 1: Tuesday, Jan. 11

Introduction to course, expectations

I. HISTORY OF PHOTOGRAPHY/WHAT IS DOCUMENTARY PHOTOGRAPHY?

Thursday, Jan 13: History of Photography

Lecture: ―The Early History of Photography‖
Readings:
o Sontag, ―In Plato‘s Cave‖ (pp. 3-24, eLearning)
o Nièpce, ―Memoire on the Heliograph‖(pp. 1-3, eLearning)
o Daguerre, ―Daguerrotype‖ (pp. 1-2, eLearning)

Week 2: Tuesday, Jan 18

Lecture: ―History of Photography, continued‖
Readings:
o Hine, ―Social Photography‖ (pp. 1-2, eLearning)
o Berger, ―Understanding a Photograph‖ (pp. 291-294, eLearning)
o Becker, ―Visual Sociology, Documentary Photography, and Photojournalism: It‘s (Almost)
All a Matter of Context‖ (pp. 5-14, eLearning)

II: ARTISTIC ELEMENTS: HOW TO “READ” A PHOTOGRAPH

Thursday, Jan 20: Artistic Elements in Photography

Lecture/Discussion: ―The Art of Photography‖
Readings:
o Nuovo Contemporary Art, ―Basic Strategies in Reading Photographs‖ (pp. 1-5, eLearning)

Week 3: Tuesday, Jan 25: How to “Read” a Photograph

Slideshow/Discussion: ―Reading Contemporary Documentary Photographs‖
Photo Description & Analysis Paper Due (1)
Readings:
o Selections from Jeffrey, How to Read a Photograph (eLearning), including:
 ―Alfred Stieglitz,‖ pp. 64-69
  ―Margaret Bourke-White,‖ pp. 100-103
 ―Paul Strand,‖ pp. 114-121
 ―Ben Shahn,‖ pp. 234-243
 ―Diane Arbus,‖ pp. 298-303

III. JACOB RIIS: Urban Poverty and Immigration in the Late 19th Century

Thursday, Jan 27
Lecture: ―Jacob Riis: Documenting the ‗Other Half‘‖
Readings:
o Riis, How the Other Half Lives, Preface, Introduction, Chapters 1-8 (to p. 63)

Week 4: Tuesday, February 1

Slideshow/Discussion: ―Jacob Riis: Tenement Life‖
Photo Description & Analysis Paper Due (2)
Readings:
o Riis, How the Other Half Lives, Chapters 9-16 (pp. 64-138)

Thursday, February 3
Slideshow/Discussion: ―Jacob Riis: Who are the ‗Others‘?‖
Photo Description & Analysis Paper Due (3)
Readings:
o Riis, How the Other Half Lives, Chapters 18-25 (pp. 139-end)

IV. CHALLENGING STEREOTYPES (?): Eugenics and Nationhood

Week 5: Tuesday, Feb 8

Lecture: ―Eugenics, Nationhood, and Photography, 1890-1935‖
Readings:
o Maxwell, ―Building a Healthy Nation: Eugenic Images in the United States, 1890-1935‖
(eLearning)

Thursday, Feb 10
Lecture: ―Native Americans on Display: The Trans-Mississippi and International Exposition‖
Readings:
o Mooney, ―The Indian Congress at Omaha‖ (pp. 126-149, eLearning)

Week 6: Tuesday, Feb 15

Slideshow/Discussion: ―Images by Frank A. Rinehart‖
Photo Description & Analysis Paper Due (4)
Readings:
o Selections from Ortiz, Beyond the Reach of Time and Change, including (all in one doc.):
 James Riding In, ―Legacy of Resistance‖ (pp. 52-55, eLearning)
 Ted Jojola, ―Photographs from Hell‖ (pp. 74-79, eLearning)
 Debra Earling, ―Returning‖ (pp. 99-101, eLearning)
  Carole Nez, ―Unless You Were There‖ (pp. 124-127, eLearning)
 Laura Tohe, ―See Real Indians‖ (pp. 160-164, eLearning)

V. LEWIS HINE: PHOTOGRAPHER & SOCIAL REFORMER

Thursday, Feb 17 (immigrants)

Lecture: ―Immigration in the Early 20th Century‖
Slideshow/Discussion: ―Immigrants at Ellis Island‖
Photo Description & Analysis Paper Due (5)

Readings:
o Walker, ―Restriction of Immigration‖ (pp. 822-829, eLearning)
o Birn, ―Six Seconds Per Eyelid‖ (pp. 281-316, eLearning)

Week 7: Tuesday, Feb 22

Slideshow/Discussion: ―The Crusade Against Child Labor‖
Photo Description & Analysis Paper Due (6)
Readings:
o Provenso, ―The Photographer as Educator: The Child-Labor Photo Stories of Lewis Hine‖
(pp. 593-612, eLearning)
o Derickson, ―Making Human Junk: Child Labor as a Health Issue in the Progressive Era‖ (pp.
1280-1290, eLearning)

Thursday, Feb 24
Catch up day—activities TBA

Week 8: Tuesday, Mar 1: Guest Speaker, UTD Research Librarian (database resources)

Thursday, Mar 3: Project Work Day—Individual Meetings with Instructor

VII: PHOTOGRAPHY OF THE GREAT DEPRESSION, DUST BOWL, & WW2

Week 9: Tuesday, March 8

Lecture: ―The Great Depression and the Role of Photography‖
Readings:
o Trachtenberg, ―From Image to Story‖ (pp. 43-73, eLearning)

Thursday, March 10
Slideshow/Discussion: ―The Work of Dorothea Lange, Gordon Parks, and Russell Lee‖
Photo Description & Analysis Paper Due (7)
Readings:
 o Gordon, ―Dorothea Lange: The Photographer as Agricultural Sociologist‖ (pp. 698 – 727,
eLearning)
o ―Migrant Workers‖ (pp. 114-117, eLearning)
o ―Ella Watson, U.S. Government Charwoman‖ (pp. 226-229, eLearning)
o ―Japanese Relocation‖ (pp. 240-242)

March 15 & 17—Spring Break

Week 10: Tuesday, Mar 22

Slideshow/Discussion: ―The Work of John Collier, Jr., Jack Delano, and Marjory Collins‖
Photo Description & Analysis Paper Due (8)

o Selections from Evans and Agee, Let Us Now Praise Famous Men, including:
 Foreword, pp. v-vii
 Preface, pp. ix – xi
 Persons and Places, (no page numbers; follows preface)
 ―Shelter‖ (pp. 111-118)
 ―The Gudger House‖ (pp. 119-137)
 ―The Front Bedroom‖ (pp. 138-149)
 ―The Rear Bedroom‖ (pp. 150-155)
 ―The Kitchen‖ (pp. 156-160)
 ―The Storeroom‖ (pp. 161-163)
 ―In the Front Bedroom: The Signal‖ (pp. 164-166)
 ―The Woods‘ House‖ (pp. 166-169)
 ―The Ricketts‘ House‖ (pp. 170-176)
 ―Notes‖ (pp. 177-185)

Thursday, Mar 24
Slideshow/Discussion: selections from Now Let Us Praise Famous Men
Photo Description & Analysis Paper Due (9)
Readings:
o Selections from Evans and Agee, Let Us Now Praise Famous Men, including:
 ―Clothing‖ (pp. 227-252)
 ―Education‖ (pp. 255-278)
 ―Work‖ (pp. 281-307)
 ―Intermission: Conversation in the Lobby‖ (pp. 310-316)

VIII: THE RELATIONSHIP BETWEEN HUMANS & NATURE

Week 11: Tuesday, Mar 29

Lecture: ―Ansel Adams: Icon of the American Conservation Movement‖
Readings:
o Selections from Rachel Carson, Silent Spring, including:
 ―Introduction‖ (pp. x-xix, eLearning)
 ―A Fable for Tomorrow‖ (pp. 1-3, eLearning)
  ―The Human Price‖ (pp. 187-198, eLearning)

Thursday, Mar 31
Slideshow/Discussion: ―Images from Fruit of the Orchard (part I)”
Photo Description & Analysis Paper Due (10)
Readings:
o Sections from Fruit of the Orchard, including:
 ―Introduction‖ (pp. 1-5)
 ―A Tear in the Lens‖ (pp. 7-10)
 ―Fruit of the Orchard‖ (pp. 11-18)

Week 12: Tuesday, April 5

Slideshow/Discussion: ―Images from Fruit of the Orchard (part II)”
Photo Description & Analysis Paper Due (11)
Readings:
o Selections from Fruit of the Orchard, including:
 ―Preventing Future Winonas‖ (pp. 123-126)
 ―Toxicological Myths‖ (pp. 127-130)

IX: CHALLENGING STEREOTYPES, PART II: Anti-lynching, Civil Rights, and Black Power

Thursday, April 7
Lecture: ―Lynching Photography in America‖
Readings:
o Wells, ―Lynch Law in America‖ (pp. 1-6, eLearning)

Week 13 Tuesday, April 12

Slideshow/Discussion: ―Images from the Civil Rights and Black Power Movements (part I)‖
Photo Description & Analysis Paper Due (12)
Readings:
o Raiford, ―Introduction‖ from Imprisoned in a Luminous Glare (pp. 1-43, eLearning)

Thursday, April 14
Slideshow/Discussion: ―Images from the Civil Rights and Black Power Movements (part II)‖
Photo Description & Analysis Paper Due (13)
Readings:
o Raiford, ―Come Let us Build a New World Together‖ (pp. 1-19, eLearning)

X. IMAGES OF FAMILY LIFE—LOVE…AND PAIN

Week 14: Tuesday, April 19

Lecture: ―The Political Dimensions of Gay and Lesbian Parenthood in America‖
Readings:
 o Selections from Love Makes a Family, including:
 Pratt, ―Foreword‖ (pp. ix-x, eLearning)
 Gillespie, ―Preface‖ (pp. xi-xvi, eLearning)
 Weston, ―Introduction: Capturing more than the moment‖ (pp. 3-11, eLearning)

Thursday, April 21
Slideshow/Discussion: ―Images from Love Makes a Family‖
Photo Description & Analysis Paper Due (14)
Readings:
o Selections from Love Makes a Family, including:
 Martin, ―Afterword‖ (pp. 251-252, eLearning)
 ―Resource Guide‖ (253 +, eLearning)

Week 15: Tuesday, April 26

Lecture: ―Family Trauma: Domestic Violence‖
Slideshow/Discussion: Images from Living with the Enemy
Photo Description & Analysis Paper Due (15)
Readings:
o Selections from Living with the Enemy, including:
 ―Preface‖ (pp. 7-11)
 ―Introduction‖ (pp. 12-15)
 ―The Violence‖ (pp. 16-33)
 ―The Police‖ (pp. 34-47)
 ―The Shelters‖ (pp. 48-71)

Thursday, April 28
Slideshow/Discussion: Images from Living with the Enemy
Photo Description & Analysis Paper Due (16)
Readings:
o Selections from Living with the Enemy, including:
 ―Women Fighting Back‖ (pp. 72-85)
 ―Batterers‖ (pp. 86-109)
 ―Rosalyn‘s Story‖ (pp. 110-117)
 ―Janice‘s Story‖ (pp. 124-129)
 ―Hedda‘s Story‖ (pp. 140-143)
 ―Lisa and Garth‘s Story‖ (pp. 144-155
Course wrap-up/final course evaluations

FINAL PROJECTS DUE: Thursday, May 5, Noon (posted to course eLearning site)