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  • Assignments
    • Assignment 1
      • Assignment 1: Initial Ideas
      • Assignment 1: process
      • Assignment 1: Inspiration
      • Assignment 1: Thoughts on selection, processing and presentation
      • Assignment 1: Peer feedback
      •  Assignment 1: Local Communities 
      •  Assignment 1: Reflection 
      • Assignment 1: The Democratic Document 
      • Assignment 1: Response to tutor feedback
      • Assignment 1: Final Version
    • Assignment 2: Single Image Narratives
      • Assignment 2: The Commodity as Spectacle
      • Assignment 2: Reflection
      • Assignment 2: Rework Experiments
      • Assignment 2: Response to tutor feedback 
      • Assignment 2: Final Version
    • Assignment 3: Visual Storytelling
      • Preparation for Assignment 3: David Campbell Lecture
      • Assignment 3: Ideas
      • Assignment 3: Influences, approach and experiments
      • Assignment 3: 13 Elizabeth Street
      • Assignment 3: Reflection
      • Assignment 3: Response to tutor feedback
      • Assignment 3: Final Version
    • Assignment 4: Critical Review
      • Assignment 4: ideas
      • Assignment 4: Critical Review – War photography and control: Vietnam to Abu Ghraib
      • Assignment 4: response to tutor feedback
      • Assignment 4: Final Version
    • Assignment 5: Personal Project
      • Assignment 5: Ideas and Influences
      • Assignment 5: The Past We Inherit
      • Assignment 5: Response to Tutor Feedback
      • Assignment 5: Final Version
    • ASSIGNMENT 6
      • Assignment 6: Pre-assessment review
  • Coursework
    • Part 1: Defining Documentary
      • Exercise 1-1: What is documentary?
      • Exercise 1-2: Realism
      • Exercise 1-3: Time and context
      • Exercise 1-4: Discontinuities
      • Exercise 1-5: A Postmodern Documentary
      • Exercise 1-6: The Myth of Objectivity
      • Exercise 1-7: A Decisive Moment?
      • Research
        • Merging genres, merging media
        • What makes a document?
        • The Decisive Moment 
    • Part 2: The B&W Document
      • Exercise 2-1: Legacy Documentary for Social Change 
      • Exercise 2-2: Survival Programmes
      • Exercise 2-3: Bill Brandt’s Art of the Document 
      • Exercise 2-4: Discussing Documentary 
      • Exercise 2-5: Continuing the Tradition
      • Exercise 2-6: Narrative 
      • Exercise 2-7: The Americans
      • Exercise 2-8: Information and expression 
      • Exercise 2-9: People Surveys 
      • Exercise 2-10: B&W portraits as a documentary strategy
      • Exercise 2-11: Classification
      • Exercise 2-12: The FSA – ‘Making Sense of Documentary Photography’
      • Exercise 2-13: Street Photographs
      • Exercise 2-14: A Japanese Connection
      • Research
        • Socially Committed B&W Photographers 
        • Semiotics
        • An ‘anthropology of ourselves’
        • The FSA
        • B&W and Surrealism
        • Vivian Maier
    • Part 3: A Colour Vision
      • Exercise 3-1: A subtle colour documentary
      • Exercise 3-2: Surrealism and colour documentary
      • Exercise 3-3: Travelling gazes
      • Exercise 3-4: Travel Photography
      • Exercise 3-5: The Roma Journeys
      • Exercise 3-6: Documentary, identity and place
      • Exercise 3-7: A British Tradition
      • Exercise 3-8: Martin Parr Territory
      • Exercise 3-9: England Uncensored
      • Exercise 3-10: Imaginary Documents
      • Exercise 3-11: Performative Documents
      • Exercise 3-12: Fictional Documents
      • Research
        • An introduction to part 3: A Colour Vision
        • Colour and Modernity: William Eggleston’s Guide
        • Surrealist elements in colour documentary
        • Reflexivity, authorship and a sense of place
        • Hannah Starkey and Charley Murrell
    • Part 4: Ethics and Looking at the Other
      • Exercise 4-1: Gaze and control
      • Exercise 4-2: The Photograph as an Intersection of Gazes
      • Exercise 4-3: Documents of conflict and suffering
      • Exercise 4-4: Imaging famine
      • Exercise 4-5: The ethics of aesthetics
      • Exercise 4-6: To print or not to print…
      • Exercise 4-7: Reflecting on the war photograph
      • Exercise 4-8: Post-colonial ethnography
    • Part 5: New Forums for Documentary
      • Exercise 5-1: The real in the twentieth century photograph
  • Reflection
    • Aims and goals of documentary
    • Introductory Tutor Phonecall
    • Hangouts
      • Documentary Hangout 1
      • Documentary Hangout 2
      • Documentary Hangout 3
      • Documentary Hangout 4
      • Documentary Hangout 5 
      • Documentary Hangout 7
      • Documentary Hangout 8 
      • Documentary Hangout 8th April 2018
    • Case study: peer sharing and crediting (Response 1)
    •  Speaking to the Future
    • Thoughts on the learning log, coursework and progress
    • OCA North Study Event – Newcastle, 8th September 2018
  • Exhibitions
    • Dave Jordano: Detroit: Unbroken Down. Side Gallery, Newcastle.
    • Only in England: Photographs by Tony Ray-Jones and Martin Parr. Bowes Museum. 
    • Sirkka-Liisa Konttinen: The Coal Coast
    • Gordon Parks: A Choice of Weapons – Side Gallery, Newcastle
    • Chuck Close: Tapestries. Ushaw College, Co. Durham.
    • Chris Killip: The Last Ships. Laing Art Gallery, Newcastle.
  • Notes
    • ‘Documentary, Document, Testimony’ Jean-François Chévrier
    • The Paradox of Documentary: Witold Krassowski – ‘Three things on teaching and the taught’
    • Susie Linfield: Vogue Italia Interview (2014)
    • Street Photography Now – introduction (notes)
  • Photographers
    • Introduction to ‘Photographers’ section
    • Mohamed Bourouissa
    • Robbie Cooper
    • Witold Krassowski
    • Paul Reas
    • Simon Roberts
    • Monique Stauder
    • Phillip Toledano

Michael Millmore: Documentary

Learning log for OCA photography course

Tag: semiotics

Semiotics

Posted on October 26, 2017October 26, 2017 by Michael Millmore

Posts concerning semiotics from my previous course, Understanding Visual Culture: The Rhetoric of the Image Structuralist Analysis Myth as a… Read more Semiotics

Exercise 2-6: Narrative 

Posted on October 3, 2017October 3, 2017 by Michael Millmore

Analyse Martin Shields photograph of two young photographers. What are the denotations and connotations of this image?  Denotation:  A black… Read more Exercise 2-6: Narrative 

 Exercise 1-4: Discontinuities 

Posted on June 9, 2017 by Michael Millmore

Page 27 of the course notes references ‘Another way of telling’ by John Berger and Jean Mohr and specifically the… Read more  Exercise 1-4: Discontinuities 

Recent Posts

  • Assignment 6: Pre-assessment review
  • Assignment 5: Final Version
  • Assignment 4: Final Version
  • Assignment 3: Final Version
  • Assignment 2: Final version
  • Assignment 1: Final Version
  • Assignment 4: response to tutor feedback
  • Assignment 5: response to tutor feedback
  • Assignment 5: Ideas and Influences
  • Assignment 5: The Past We Inherit
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13 Elizabeth Street Abu Ghraib Alter ego Amber Collection Assignment Assignment 1 Assignment 1: Local Communities Assignment 2: Single Image Narratives Assignment 3 Assignment 3: Visual Storytelling Assignment 4 Assignment 4: Critical Review Assignment 5: Personal Project Bill Brandt Chris Killip Chris Steele-Perkins Colin Jacobson Critical review Daido Moriyama David Campany David Campbell Eight Magazine Errol Morris Eugene Atget Exercise Exercise 1-7 Exhibition Exit Photographers FSA hangout Henri Cartier-Bresson Hotshoe magazine Immersion Jack Kerouac Jose Navarro Local Communities Martin Parr Miranda Gavin Nick Battye Notes Part 2 Part 2: The B&W Document Part 3 Part 3: A Colour Vision Part 4 Part 4: Ethics and Looking at the Other Paul Trevor Peter Dench Photographers Provoke Provoke aesthetic Ray's a laugh Reflection Research Richard Billingham Robbie Cooper Robert Frank Roland Barthes semiotics Side Gallery Simon Bainbridge Simon Norfolk Simon Roberts Sirkka-Liisa Konttinen Stanley Street Photography Now! Surrealism Survival Programmes The Americans The Non-Conformists Three things on teaching and the taught Walker Evans weareoca When did you last cry Witold Krassowski
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