| Course Name | Film Seminar I: Narrative Forms and Styles |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 211 | Fall | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | - | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to films that have an important place in film history and yet have low visibility in the framework of commercial cinema, and to enable the students to acquire film culture. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This is the first of a series of courses, introducing, screening and analyzing films crucial to forming film culture. The course includes canonic, experimental, avant-garde examples of early cinema, European and American film movements, from the late 19th century to the 1980s. Evaluation will be based on one midterm and one final project (exam). |
| 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 | Pages 6-13 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 2 | Birth of Cinema — between art and entertainment - Screening Excerpts from Lumiere Brothers George Melies - Voyage to the Moon Thomas Edison - The Great Train Robbery | Pages 13-23 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 3 | Early Cinema — between documentary and fiction - Screening Robert J. Flaherty - Nanook of the North (1922) | Pages 86-91 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 4 | Russian Constructivism - Screening Dziga Vertov, The Man with the Movie Camera (1929) | Pages 92-94 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema: [the definitive history of cinema worldwide]. Oxford [u.a.], Oxford Univ. Pr. |
| 5 | Surrealism in Cinema - Screening Luis Buñuel - L'Age d'Or (1930) (60 min) Luis Buñuel - Un Chien Andalou (1929) (21 min) First Assignment due by midnight | Tony Richardson “The films of Luis Bunuel” Sight and Sound; Jan 1, 1954; 23, 3; pg. 125. |
| 6 | Italian Neo-Realism - Screening Vittorio de Sica - Ladri di biciclette (1948) (93 min) | Richard Winnington, “Bicycle Thieves” Sight and Sound; Mar 1, 1950; 19, 1; pg. 26. |
| 7 | Nouvelle Vague - Screening Jean-Luc Godard – À bout de soufflé (1960) (90 min) | Berg, Charles Merrell. "French New Wave Ushers in a New Era of Cinema." Salem Press Encyclopedia (January 2017). Roger Ebert on Godard’s Breathless (http://www.rogerebert.com/reviews/great-movie-breathless-1960) |
| 8 | Cinema Verité Screening Chris Marker - La Joli Mai (1963) (145 min) Second Assignment due by midnight | Peter Graham „On Cinema Verite in France” Film Quarterly, Vol. 17, No. 4 (Summer, 1964), pp. 30-36. |
| 9 | MIDTERM EXAM | |
| 10 | European Art Cinema Screening Michelangelo Antonioni - Blow up (1966) (111 min) | Marsha Kinder “Antonioni in Transit” Sight and Sound; Summer 1967; 36/3; pp. 132- 137. Carey Harrison “Two Films (2): Blow-Up” Sight and Sound; Spring 1967; 36/2; pp. 60-62. |
| 11 | British New Wave Screening Lindsay Anderson - If (1968) (111 min) | Robinson, David “Anderson shooting IF...” Sight and Sound; Summer 1968; 37, 3; pg. 130. |
| 12 | Road Movies Screening Wim Wenders - Alice in the Cities (1974) (110 min) | John Pym “The Road from Wuppertal” Sight and Sound; Fall 1984; 53, 4; pg. 244. |
| 13 | Unhollywood - American Independent Cinema Screening Jim Jarmusch - Stranger than Paradise (1984) (89 min) | Richard Linnett “As American as You Are: Jim Jarmusch and Stranger than Paradise” Cinéaste, Vol. 14, No. 1 (1985), pp. 26-28. |
| 14 | Final Project (Exam) | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | NOWELL-SMITH, G. (1999) The Oxford History of World Cinema. Oxford University Press. |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | 1 | 50 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| 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 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | 1 | 26 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 14 | |
| Final Exams | |||
| Total | 120 |
| # | 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. | X | ||||
| 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
