| 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 | Online | |||||
| 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 | 25 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 3 | 75 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| 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 | 9 | 3 | 27 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 3 | 25 | |
| 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 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. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
