| Course Name | Film Seminar: A Cinema in the Shade II |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 212 | Spring | 3 | 0 | 3 | 4 |
| 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 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 second of a series of courses, introducing and screening films crucial to forming film culture and not readily available elsewhere. The course includes canonic, experimental, avant-garde (commercial or non-commercial) examples of early cinema, American studio films, European art films, world cinema. There will be one midterm and one final 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 | |
| 2 | Postmodern Dystopia Screening Blade Runner, Ridley Scott (1982) | Giuliana Bruno “Ramble City: Postmodernism and Blade Runner” October, Vol. 41 (Summer, 1987), pp. 61-74. |
| 3 | Essay Film Screening Sans Soleil, Chris Marker (1983) | David Montero “Film also ages: time and images in Chris Marker's Sans soleil”, Studies in French Cinema, 6:2, 2006, pp. 107-115. |
| 4 | New German Cinema Screening Wings of Desire, Wim Wenders (1987) | David Caldwell & Paul Rea “Handke’s and Wenders’ Wings of Desire. Transcending Postmodernism” The German Quarterly; Winter 1991; 64 (1), pp.46-54. Anton Kaes “The New German Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 614-627. |
| 5 | Cinéma du Look Screening Nikita, Luc Besson (1990) | Sue Harris, “Cinema du Look,” European Cinema, ed. Elizabeth Ezra. Oxford University Press. 2004. pp.219-233. |
| 6 | New Iranian Cinema Screening Close-up, Abbas Kiarostami (1990) | Hamid Naficy “Iranian Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 672-678. Godfrey Cheshire “Where Iranian Cinema Is” Film Comment, Vol. 29, No. 2 (MARCH–APRIL 1993), pp. 38-43. Phillip Lopate “Kiarostami Close Up” Film Comment, Vol. 32, No. 4 (JULY-AUGUST 1996), pp. 37-40. |
| 7 | Northern European Farce Screening The Match Factory Girl, Aki Kaurismaki (1990 | Bert Cardullo “Finnish Character: An Interview with Aki Kaurismäki” Film Quarterly, Vol. 59, No. 4 (Summer 2006), pp. 4-10. Sanna Kivimaki, “Working-class girls in a welfare state: Finnishness, social class and gender in Aki Kaurismäki's Workers' Trilogy (1986-1990)” Journal of Scandinavian Cinema, Volume 2, Number 1, 31 January 2012, pp. 73-88. Jonathan Romney “Last Exit to Helsinki: The Bleak Comedic Genius of Aki Kaurismaki, Finland’s Finest” Film Comment, Vol. 39, No. 2 (MARCH/APRIL 2003), pp. 43-45, 47. |
| 8 | Women’s Cinema Screening Thelma and Louise, Ridley Scott (1991) | Brenda Cooper “’Chick Flicks’ as Feminist Texts: The Appropriation of the Male Gaze in Thelma and Louise” Women’s Studies in Communication, 23 (3), pp. 277-306. |
| 9 | New Asian Cinema Screening Chungking Express, Wong Kar Wai (1994) | Tony Rayns “Poet of Time” Sight and Sound; Sep 1, 1995; 5/9; pp. 12-16. Chuck Stephens “Time pieces: Wong Kar-Wai and the Presistence of Memory” Film Comment, Vol. 32, No. 1 (Jan-Feb 1996), pp. 12-18. |
| 10 | Cinema of the banlieus Screening Le Haine, Mathieu Kassovitz (1995) Midterm Paper (30%) - due by midnight on 24 April 2020 | Amy Siciliano, “La Haine: Framing the ‘Urban Outcasts’” ACME International Journal for Critical Geographies, Vol. 6 No. 2. 2007, pp.211-230. |
| 11 | Migrant and Diasporic Cinema Screening Head-On, Fatih Akın (2004) Abstract & Bibliography (10%) – due by midnight on 3 May 2020 | Daniela Berghahn “No place like home? Or impossible homecomings in the films of Fatih Akın” New Cinemas: Journal of Contemporary Film, Volume 4, Number 3, Feb 2006, pp. 141-157. |
| 12 | Postcolonial European Cinema Screening Caché, Michael Haneke (2005) | Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296. |
| 13 | Postmodern Parody Screening The Love Witch, Anna Biller (2016) | Heron, Christopher (5 April 2017). “A Woman Constructing Her World: Anna Biller Interview (The Love Witch)” The Seventh Art. https://theseventhart.org/anna-biller-interview-the-love-witch/ Mullen, David (1 November 2016). “The Magic of Hard Lighting for The Love Witch” American Cinematographer. An international Publication of the American Society of Cinematographers (ASC). https://ascmag.com/articles/the-magic-of-hard-lighting-for-the-love-witch |
| 14 | Final Paper (50%) – due by midnight on 21 May 2020 | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks |
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| Suggested Readings/Materials | Geoffrey Nowell-Smith. The Oxford History of World Cinema. Oxford University Press, 1999.
|
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 2 | 40 |
| Presentation / Jury | ||
| Project | 1 | 50 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 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 | 2 | 15 | |
| Presentation / Jury | |||
| Project | 1 | 25 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 135 |
| # | 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). | |||||
| 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
