| Course Name | Images, Sounds, Cultures II |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 102 | Spring | 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 | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course complements CDM 101 by exploring the postmodern world of images. It 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 two essays and a final project. Students will present their final projects in class at the end of the semester and receive feedback before they submit their final projects. |
| 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 | Introduction Basic concepts | |
| 2 | From Modernism to Postmodernism – Changing Regimes of Visuality I | Marita Sturken & Lisa Cartwright “Chapter 8: Postmodernism, Indie Media, and Popular Culture” in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 307-328. |
| 3 | From Modernism to Postmodernism – Changing Regimes of Visuality II: Simulacrum Screening: Český Sen (2004) (90 min) | Sturken & Cartwright “Chapter 8: Postmodernism, Indie Media, and Popular Culture” in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 328-345. Jean Baudrillard, Simulacra and Simulation, pp. 3-6. |
| 4 | The Spectacle: Shock & Awe Screening: The Persuaders (PBS) http://www.pbs.org/wgbh/pages/frontline/shows/persuaders/ | Zeynep Gürsel, “Spectacular Terrorism. Images on the Frontline of History” 9/11 New York – Istanbul (Ed. Feride Çiçekoğlu), pp. 154-191. Guy Debord, The Society of the Spectacle, 1967. Jean Baudrillard, The Gulf War did not take place. 1995. |
| 5 | Culture Jamming | Marilyn Bordwell, “Jamming Culture: Adbusters' Hip Media Campaign Against Consumerism” in Princen, Thomas, Michael Maniates, and Ken Conca (Eds) Confronting consumption. MIT Press. 2002, pp. 237-254. |
| 6 | Virtual Reality, Digital Cultures Screening: Digital Nation (PBS) http://www.pbs.org/wgbh/frontline/film/digitalnation/ | Nicholas Mirzoef “Virtuality: From virtual antiquity to the pixel zone” in An Introduction to Visual Culture. Routledge, 1999. pp. 91-125. |
| 7 | The Cool Screening Merchants of Cool (PBS) http://www.pbs.org/wgbh/pages/frontline/shows/cool/view/ | Dick Pountain and David Robins. Cool Rules. The Anatomy of an Attitude. Reaktion Books. 2000, pp. 15-33. Robert Farris Thompson “An Aesthetic of the Cool” African Arts. 1973. Vol 7(1), pp. 40-43, 64-67, 89-91. |
| 8 | From Nationalism to Globalism | William Mazzarella "'Very Bombay': Contending with the Global in an Indian Advertising Agency." Cultural Anthropology 18, no. 1 (2003): 33–71. Derya Ozkan & Robert J. Foster “Consumer Citizenship, Nationalism, and Neoliberal Globalization in Turkey: The Advertising Launch of Cola Turka” Advertising & Society Review, vol. 6 no. 3, 2005. |
| 9 | Global Circulation of Images I ASSIGNMENT 1 (due on 13 April 2020) | Sturken & Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 389-406. |
| 10 | Global Circulation of Images II ASSIGNMENT 2 (due on 20 April 2020) | Sturken & Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 407-430. Mirzoeff, “Diana’s Death: Gender, Photography and the Inauguration of Global Visual Culture” in An Introduction to Visual Culture. Routledge, 1999. pp. 231-247. |
| 11 | Social Media & the Internet Screening Growing up Online (PBS) http://www.pbs.org/wgbh/frontline/film/kidsonline/ Generation Like (PBS)http://www.pbs.org/wgbh/frontline/film/generation-like/ ASSIGNMENT 3 (due on 27 April 2020) | Susan Murray (2008) “Digital Images, Photo-sharing, and our shifting notions of everyday aesthetics” Journal of Visual Culture. Vol 7(2), pp. 147-163. |
| 12 | Discussion and Feedback - Assignment 4 ASSIGNMENT 4 (first draft due on 10 May 2020) | |
| 13 | Discussion and Feedback - Assignment 4 | |
| 14 | ASSIGNMENT 4 - Final due on 21 May 2020 | |
| 15 | Review of the Semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks |
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| Suggested Readings/Materials | Marita Sturken & Lisa Cartwright. 2009. Practices of looking: an introduction to visual culture. New York: Oxford University Press. |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 4 | 90 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 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 | 4 | 64 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 3 | 48 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 4 | 12 | |
| Presentation / Jury | |||
| Project | 26 | ||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 160 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to define and discuss the history, underlying concepts and theories of cinema and digital media. | X | ||||
| 2 | To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking. | X | ||||
| 3 | To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. | |||||
| 4 | To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing. | |||||
| 5 | To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work. | |||||
| 6 | To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images. | X | ||||
| 7 | To be able to perform specialized tasks for creating digital media narratives with interactive elements. | |||||
| 8 | To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view. | X | ||||
| 9 | To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner. | |||||
| 10 | To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment. | |||||
| 11 | To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
