| 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 | Online | |||||
| 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 and political contexts. Evaluation will be based on one assignment, two midterm exams and a visual 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 | Introduction | |
| 2 | From Modernism to Postmodernism – Changing Regimes of Visuality I | Fredric Jameson“Postmodernism, ortheCulturalLogic of LateCapitalism” 146 (July-Aug 1984), pp. 53-92. David Harvey. TheCondition of Postmodernity. Blackwell, 1989, pp. 284-325. |
| 3 | From Modernism to Postmodernism – Changing Regimes of Visuality II: Simulacrum Screening: Český Sen (2004) (90 min) | Jean Baudrillard,Simulacra and Simulation.University of Michigan Press, 1994, pp. 75-94. |
| 4 | Appropriation, Intertextuality, Pastiche, Parody | Marita Sturken& Lisa Cartwright “Chapter 8: Postmodernism: Irony, Parody, Pastiche” in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018 (Third Edition), pp. 301-336. |
| 5 | The Spectacle Screening: The Persuaders (PBS) http://www.pbs.org/wgbh/pages/frontline/shows/persuaders/ ASSIGNMENT DUE | Guy Debord, The Society of the Spectacle, 1967. Jean Baudrillard, The Gulf War did not take place. 1995. Zeynep Gürsel, “Spectacular Terrorism. Images on the Frontline of History” 9/11 New York – Istanbul (Ed. FerideÇiçekoğlu), pp. 154-191. |
| 6 | 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, |
| 7 | 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. DeryaOzkan& 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. |
| 8 | Global Circulation of Images I MIDTERM EXAM 1 | Sturken& Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 379-399. |
| 9 | Global Circulation of Images II | Sturken& Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 399-423. Mirzoeff, “Diana’s Death: Gender, Photography and the Inauguration of Global Visual Culture” in An Introduction to Visual Culture. Routledge, 1999. pp. 231-247. |
| 10 | 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/ | Lev Manovich &AliseTifentale“Selfiecity: Exploring Photography and Self-Fashioning in Social Media” in Berry, David M. and Michael Dieter, eds. Postdigital Aesthetics: Art, Computation and Design (Palgrave Macmillan: 2015), pp. 109-122. Susan Murray (2008) “Digital Images, Photo-sharing, and our shifting notions of everyday aesthetics” Journal of Visual Culture. Vol 7(2), pp. 147-163. |
| 11 | Virtual Reality, Digital Cultures Screening: Digital Nation (PBS) http://www.pbs.org/wgbh/frontline/film/digitalnation/ SelfieCity Research Project http://www.selfiecity.net/ MIDTERM EXAM 2 | Nicholas Mirzoeff “Virtuality: From virtual antiquity to the pixel zone” in An Introduction to Visual Culture. Routledge, 1999. pp. 91-125. Geoffrey Batchen, “Specters of cyberspace,” in The Visual Culture Reader, Nicholas Mirzoeff, ed. (London: Routledge, 1998), 237–242. |
| 12 | Looking at Science | Sturken& Cartwright, “Chapter 9: Scientific Looking, Looking at Science”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 337-377. |
| 13 | Visual Project Presentations | |
| 14 | Visual Project Presentations | |
| 15 | Review of the semester | |
| 16 | VISUAL PROJECT DUE |
| 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 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 20 |
| Presentation / Jury | ||
| Project | 1 | 20 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 2 | 40 |
| 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 | 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 | 1 | 20 | |
| Presentation / Jury | |||
| Project | 1 | 20 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 2 | 14 | |
| Final Exams | |||
| Total | 180 |
| # | 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. | X | ||||
| 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. | |||||
| 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. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 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. | X | ||||
| 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. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
