| Course Name | Film Seminar: A Cinema in the Shade IV |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 312 | 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 fourth installment 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 canons, as well as the experimental and avant-garde (commercial or non-commercial), even trash and camp This installment of the film seminar has two major focuses: the connection between cinema and the body, and the effects of technology on cinema. |
| 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 | Virtuality Screening: Cam (Daniel Goldhaber, 2018) | Gilles Deleuze, The Actual and the Virtual, Dialogues, (1987), 148-152 |
| 3 | Embodiment I Screening: Antiviral (Brandon Cronenberg, 2012) | Gilles Deleuze and Felix Guattari, Desiring Machines, Anti-Oedipus, (1972), 1-50. |
| 4 | Embodiment II Screening: Blade Runner (Ridley Scott, 1982) | Donna Harraway, Cyborg Manifesto, Simians, Cyborgs, and Women (1984, New York: Routledge), 149-183. |
| 5 | Embodiment III Screening: Ghost in the Shell (Mamoru Oshii, 1995) | Alan Turing, Computer Machinery and Intelligence, Mind, Vol. 59, No: 236 (Oct, 1950), 433-460 |
| 6 | Perverse Computing – UI Screening: Her (Spike Jonze, 2013) First essay due date | Kristina Andersen and Joanna Berzowska, Worn Technology-Alteration of Social Space, Hybrid Space, Open! Platform for art Culture and Public Domain (November, 2006) www.onlineopen.org/download.php?id=284 |
| 7 | Midterm | |
| 8 | Transmedia Storytelling Screening: Timecode (Mike Figgis, 2000) | Andrea Phillips, A Creator’s Guide to Transmedia Storytelling, (2012), 55-69. |
| 9 | Simulacra and Simulation Screening: : Philip K Dick’s Electric Dreams: Real Life (Jeffrey Reiner, 2018) Black Mirror: Fifteen Million Merits (Euros Lyn, 2011) | Jean Baudrillard, Simulacra and Simulation, (1981), 1-28. |
| 10 | Hybrid-Spaces – Immersion Screening: eXistenz (David Cronenberg, 1999) | Eric Kluitenberg, The Network of Waves, Open, No:11 (2006), 6-16. |
| 11 | Mass Media Screening: Videodrome (David Cronenberg, 1983) | Mary Flanagan, Mobile Identities, Digital Stars and Post-Cinematic Selves, Wide Angle, Vol.21 No:1 (January, 1999), 77-93. |
| 12 | Found Footage and Viral Marketing Screening: Megan is Missing (Michael Goi, 2011) | Alexandra Heller-Nicholas, Found Footage Horror Films, (2014), 58-86 |
| 13 | Web 2.0 Screening: Unfriended (Leo Gabriadze, 2014) | Tim O’Reilly, What is Web 2.0, Web Squared: Web 2.0 Five Years On (Oct, 2009), http://www.oreilly.com/pub/a//web2/archive/what-is-web-20.html |
| 14 | Final | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | 1 | 50 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 50 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 2 | 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 | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | 1 | 28 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 26 | |
| Final Exams | |||
| Total | 118 |
| # | 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. | |||||
| 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. | |||||
| 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. | |||||
| 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
