| Course Name | Horror Film |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 310 | Fall/Spring | 3 | 0 | 3 | 5 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| 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 the immense field of horror film studies. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course combines theoretical work and film analysis. There will be in-class and off-class screenings. Horror film theory will be used to discuss questions of gender and politics in cinema. Students will be expected to write three response papers. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | Representation and the Gaze Screening: Vampyr (1931) Dracula (1931) | Alison Peirse, “The Impossibility of Vision: Vampirism, Formlessness and Horror in Vampyr” in Studies in European Cinema Vol. 5 No. 3 (2009), 161-170. Robin Wood, “Burying the Undead: The Use and Obsolescene of Count Dracula” in The Dread of Difference: Gender and Horror Film ed. Barry Keith Grant (1983, Austin, TX: University of Texas Press, 2015), 388-402. |
| 3 | Repressed Desire Screening: Bride of Frankenstein (1936) Cat People (1942) | Mary Jacobus, “Is There a Woman in This Text?” in New Literary History Vol. 14 No.1 (Autumn, 1982), 117-141. Elizabeth Young, “Here Comes the Bride: Wedding Gender and Race in Bride of Frankenstein” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1991/2015, Austin, TX: University of Texas Press), 359-387. Karen Hollinger, “The Monster as Woman: Two Generations of Cat People” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1991/2015, Austin, TX: University of Texas Press), 346-358. |
| 4 | Zombie Politics Screening: The Night of the Living Dead (1968) | Barry Keith Grant, “Taking Back the Night of the Living Dead” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 228-240. Kerstin Oloff, “From Sugar to Oil: The Ecology of George A. Romero’s Night of the Living Dead” in Journal of Postcolonial Writing Vol. 53 No.3 (2017), 316-328. |
| 5 | Vampires and Exploitation Screening: The Blood Spattered Bride (1972) | Bonnie Zimmermann, “Daughters of Darkness” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 430-438. Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge) 59-72. |
| 6 | The Eye and the Spectator: Giallo Screening: Opera (1987) Zombie 2 (1979) First Response Paper Due Date | Donald L. Anderson, “Georges Bataille: The Globular & Cross Gender Identification Through Eyeball Mutilation In The Horror Film” in Rhizomes No. 7 (Fall, 2003), http://www.rhizomes.net/issue7/anderson.htm Leon Hunt, “A (Sadistic) Night at the Opera” in The Horror Reader, ed. Ken Gelder (2000, London: Routledge), 324-335. Adam Knee, “Genre, Gender, Argento” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 430-438. |
| 7 | Revenge Screening: I Spit On Your Grave (1978-2010) | Laura Mee, “Revenge of Jeniffer Hills: Gender and genre in I Spit On Your Grave (2010)” in Horror Studies Vol. 4 No. 1 (2013), 75-89. Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge), 122-138. |
| 8 | Re-Gendering the Final Girl Screening: Sleepaway Camp (1983) | Carol Clover, “Her Body, Himself: Gender in the Slasher Film” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 68-115. |
| 9 | Adolescence and Menstruation Screening: Ginger Snaps (2000) | Martin Barker, “Menstrual Monsters: The Reception of the Ginger Snaps Cult Horror Franchise” in Film International Vol.4 No.21 (2006), 68-77. |
| 10 | New French Extremity Screening: Martyrs (2008) Second Response Paper Due Date | Christopher Butler, “Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity” University of South Florida Graduate Dissertation, Scholar Commons (January, 2013), 48-68. |
| 11 | Exorcism and Conservatism Screening: The Conjuring (2013) | Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge), 31-42. Douglas Kellner, “Poltergeist: Suburban Ideology” in Jump Cut No.28 (April, 1983), 5-6. |
| 12 | Horror After 9/11 Screening: Hostel (2005) Hostel: Part II (2007) | Christopher Sharett, “Conservatism of Contemporary Horror Films” in Cineaste Vol.35 No.1 (Winter, 2009), 32-27. Adam Lowenstein, “Spectacle Horror and Hostel” Critical Quarterly Vol. 53 No.1 (2011), 42-60. |
| 13 | Mutation and Kawaii Horror Screening: Vampire Girl vs. Frankenstein Girl (2009) | Jay McRoy, Nighmare Japan Contemporary Japanese Horror Cinema (2008, New York, NY: Rodopi), 116-146. |
| 14 | Remake and Reboot Screening: Suspiria (2018) | Sigmund Freud, The Uncanny, (1919) E.T.A Hoffmann, The Sandman (2016, London: Penguin Books) |
| 15 | Third Response Paper Due Date | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 3 | 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 | 3 | 48 |
| 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 | 3 | 18 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 150 |
| # | 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. | |||||
| 2 | To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking. | |||||
| 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. | X | ||||
| 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. | |||||
| 7 | To be able to perform specialized tasks for creating digital media narratives with interactive elements. | X | ||||
| 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. | |||||
| 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. | X | ||||
| 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. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
