| Course Name | Film Seminar: A Cinema in the Shade III |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 311 | 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 experimental 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;
|
| Course Description | This is the third of a series of courses, mainly consisting of introducing and screening films which are crucial to forming film culture and not readily available elsewhere. The films are selected among the experimental, artistic and avant-garde works. Students are expected to present a case study/topic, write a research paper on the same subject, and a practical interpretation of a work or audio/visual sequence they choose. Attendance and active participation is also a part of the student evaluation criteria. |
| 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 | Early European Avant Garde - Screening: Hans Richter, Fernand Léger, Man Ray, Walter Ruttman, Rene Clair | Ian Christie. French Avant Garde Film in the Twenties: From Specify to Surrealism. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 37-47. |
| 3 | American Avant Garde - Screening: Stan Brakhage, Hollis Frampton, Su Friedrich, Woody and Steina Vasulka, Guy Maddin, Maya Deren, Franz Zwartjes | Lewis Jacobs, Experimental Cinema in America (Part Two: The Post-War Revival. Hollywood Quarterly. Vol. 3, no.3 (Spring, 1948), 278-292. |
| 4 | The Art of TV - Screening: Nam June Paik, Dara Birnbaum, Gary Hill, Bill Viola | Patricia Mellencamp. The Old and the New: Nam June Paik. Art Journal Vol. 54, no.4 Video Art (Winter, 1995): 41-47 |
| 5 | Sound, Image and Rythm - Screening: Claus Blume, Volker Schreiner, Marcel Odenbach, Michael Chion, Peter Kubelka | Brigit Hein. The Structural Film. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 93-107. |
| 6 | Found Footage and Appropriated Material - Screening: Bruce Conner, Peter Tscherkassky | Pavle Levi. Cinema by Other Means. Oxford University Press, 2012. 25-46. |
| 7 | From Cinema to Video - Screening: Jean Luc Godard + Anne Marie Mieville | Daniel Morgan. Late Godard and Possibilities of Cinema. University of California Press, 2012. 253-265. |
| 8 | Feminist Film - Screening: Carolee Schneeman, Chantal Akerman | Ivone Mergulies. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996, 100-128. |
| 9 | Queer Cinema - Screening: Barbara Hammer, Bruce La Bruce | Bruce Labruce. Bruce LaBruce: Ride, Queer, Ride! Plug in Inc., 1997. |
| 10 | Film and Performance - Screening: Stellar, Abromowicthz, Miranda July, DV8 | Kate Ince. Orlan: Millennial Female. Berg, 2000. 99-131 |
| 11 | Cinema and Urbanism - Screening: Patrick Keiller - Robinson in Space | Michael O’Pray. Avant Garde Film: Forms, Themes and Passion. Columbia University Press, 2003. 107-119. |
| 12 | The Art of Documentary - Screening: Agnes Varda, Werner Herzog, Wim Wenders | David LaRocca. The Philosophy of Documentary Film: Image, Sound, Fiction Truth. Lexington Books, 2016, 287-305. |
| 13 | Representing the Other - Screening: Trinh T. Minh-Ha, Jean Rouch | Trinh T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Indiana University Press, 2009. 79-119. |
| 14 | Project Presentation | |
| 15 | Review of the Semester | |
| 16 | Review of the Semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 15 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 1 | 25 |
| Portfolio | ||
| Homework / Assignments | 1 | 25 |
| Presentation / Jury | ||
| Project | 1 | 35 |
| 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 | 1 | 16 |
| Field Work | |||
| Quizzes / Studio Critiques | 1 | 13 | |
| Portfolio | |||
| Homework / Assignments | 1 | 13 | |
| Presentation / Jury | |||
| Project | 1 | 30 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| 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. | X | ||||
| 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. | 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. | 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
