| Course Name | Images, Sounds, Cultures I |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 101 | Fall | 2 | 2 | 3 | 6 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to change the way students look at the visual world that surrounds them. It will help students to develop an understanding of the ways in which meaning is produced in visual culture. The course will center on the following questions: How do we make meaning of the audio-visual world? In what ways do economics, politics, culture affect visual representation? How do the ways in which visual culture is produced, consumed, distributed, and interpreted, play into the images we encounter every day? What is the relationship between images and power? |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | The course reviews images ranging from newspapers to the Web, advertisements to the movies, from television to fine arts and discusses cultural products in their economic, social, political and cultural contexts. The course will be held in interactive lecture form. Students are expected to participate in class discussion. There will be in-class screening of videos related to the topics covered. Evaluation will be based on one assignment, two exams and one project. |
| Related Sustainable Development Goals | |
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| Core Courses | X |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Presentation of the Course: Visual Power: What It Is and Why It Matters Excerpts from: Saving Private Ryan, Dunkirk, Medal of Honor, 1917 | |
| 2 | Seeing as an Ideology: Semiotics Screening excerpts: Pervert’s Guide to Ideology (2012) | Lacan, J. 1998. Four Fundamental Concepts of Psychoanalysis. (67-119) |
| 3 | Representation and Illusion: On photography Screening: Berger, Ways of Seeing Documentary | Excerpts from Sontag, S. 1973. On Photography |
| 4 | Self-portrait presentations | |
| 5 | How You See: Surveillance and Spectatorship Discussion on Las Meninas Panopticon | Foucault, M. 1994. The Order of Things, (3-19) |
| 6 | Aesthetic & Critique: What makes something a work of art? Aura and Authenticity | Bourdieu, P. 1993. The Field of Cultural Production, (238-267) |
| 7 | Stereotypes, Subcultures, Identity, Other Screening excerpts from: Kamikaze Girls | Hebdige,1979. Subculture: The Meaning of Style |
| 8 | Representation and Gender Screening excerpts from: Dracula (1931), Dracula (1979), Dracula (1992) | Mulvey, Laura. 1975. Visual pleasure and narrative cinema. Screen 16 (3):6-18 |
| 9 | Orientalism Screening excerpts from: Sex and the city 2, and Midsommar | Mitchell, T. “Orientalism and Exhibitionary Order” in The visual Culture Reader, ed. Nicholas Mirzoeff (495-505) |
| 10 | Midterm/Term Paper | |
| 11 | Postmodernism and Cinema: Pastiche, Parody, Intertextuality Screening excerpts from: Scream, Stranger Things, Scary Movie, Sex Education | In class discussions Foster, H. 1983. The Anti-aesthetic: Essays on Postmodern Culture. (83-110) |
| 12 | Virtual bodies and digital space: Video Games and Twitch Playing: Emily is Away and Geoguesser | Hayles, N. K., “Virtual Bodies and Flickering Signifiers” in Visal Culture Reader, ed. Nicholas Mirzoeff (152-160) |
| 13 | Social Media: Technological Production of the Body Analyzing instagram pages: @cindysherman and @elitizm1 | Balsamo, A. 2002. “On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body” in The Visual Culture Reader ed. Nicholas Mirzoeff (685-695) |
| 14 | Visual essay presentations | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | The Visual Culture Reader, ed. Nicholas Mirzoeff. 2002 |
| Suggested Readings/Materials | Lacan, J. 1998. Four Fundamental Concepts of Psychoanalysis. (67-119) Sontag, S. 1973. On Photography Foucault, M. 1994. The Order of Things, (3-19) Bourdieu, P. 1993. The Field of Cultural Production, (238-267) Mulvey, Laura. 1975. Visual pleasure and narrative cinema. Screen 16 (3):6-18 Hebdige,1979. Subculture: The Meaning of Style Mitchell, T. “Orientalism and Exhibitionary Order” in The visual Culture Reader, ed. Nicholas Mirzoeff (495-505) Foster, H. 1983. The Anti-aesthetic: Essays on Postmodern Culture. (83-110) Hayles, N. K., “Virtual Bodies and Flickering Signifiers” in Visal Culture Reader, ed. Nicholas Mirzoeff (152-160), Balsamo, A. 2002. “On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body” in The Visual Culture Reader ed. Nicholas Mirzoeff (685-695) |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 5 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 20 |
| Presentation / Jury | 1 | 10 |
| Project | 1 | 30 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 35 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 5 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 1 | 16 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 10 | |
| Presentation / Jury | 1 | 10 | |
| Project | 1 | 16 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 16 | |
| Final Exams | |||
| Total | 116 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | |||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
