Course Name | Directing |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
CDM 325 | Fall/Spring | 2 | 2 | 3 | 5 |
Prerequisites |
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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 give the students the specialized skills needed to act as a film director on a film set. |
Learning Outcomes | The students who succeeded in this course;
|
Course Description | This course focuses on the role, craft and skills that are necessary for a film director. Evaluation will be based on studio critique, assignments and projects. |
Related Sustainable Development Goals | |
| Core Courses | |
Major Area Courses | X | |
Supportive Courses | ||
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
1 | Director’s crew on set and descriptions | Kang-bok, L. (Producer) & Bong Joon, H. (Director). (2003). Salinui Chueok [Film] South Korea : CJ Ent. |
2 | Storyboarding | Telling a story with photos |
3 | Storyboarding | Kennedy, K. (Producer) & Spielberg, S. (Director). (2005). Munich [Film] United States : DreamWorks |
4 | Blocking | Storyboard exercise |
5 | Blocking | Willimon B. (Writer), & Fincher, D. (Director). (1 Feb. 2013). Chapter 1. [Television Series Episode] House of Cards. Los Angeles : Netflix |
6 | Working with actors | Blocking exercise |
7 | Working with actors | Atakan, Z. (Producer) & Ceylan, N. B. (Director). (2011). Bir Zamanlar Anadolu’da [Film] Turkey : ZeynoFilm |
8 | Film Analysis - Scene Breakdowns | Project development file |
9 | Film Analysis - Scene Breakdowns | Broderick, J. (Producer) & Villeneuve, D. (Director). (2013). Prisoners [Film] United States : Madhouse Ent. |
10 | Editing for Directors | Film analysis |
11 | Pre - Production | Claybourne, D. (Producer) & Bahr, F. (Director). (1991). Heart of Darkness: A Filmmaker’s Apocalypse. [Documentary]. United States : American Zoetrope |
12 | Pre - Production | Pre-production file for final project |
13 | Storyboarding for the film project | Preparing the film project |
14 | Storyboarding for the film project | |
15 | Semester Review | |
16 | Semester Review |
Course Notes/Textbooks | |
Suggested Readings/Materials | Daniel Arijon, Grammer of the Film Language Silman-James Pr ; Reprint edition (1991) Steven D. Katz, Film Directing Shot by Shot: Visualizing from Concept to Screen Focal Press; 1 edition (July 31, 1991) Judith Weston, Directing Actors: Creating Memorable Performances for Film & Television Joseph V. Mascelli, The Five C's of Cinematography: Motion Picture Filming Techniques, Silman-James Pr; 1st Silman-James Press edition (June 1, 1998). Walter Murch, In the Blink of an Eye: A Perspective on Film Editing Silman-James Press; 2nd edition (August 1, 2001). |
Semester Activities | Number | Weigthing |
Participation | 1 | 10 |
Laboratory / Application | 1 | 15 |
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | 2 | 35 |
Presentation / Jury | 1 | 20 |
Project | 1 | 20 |
Seminar / Workshop | ||
Oral Exam | ||
Midterm | ||
Final Exam | ||
Total |
Weighting of Semester Activities on the Final Grade | 6 | 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 | 2 | 32 |
Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 2 | |
Study Hours Out of Class | 10 | 2 | 20 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | 2 | 20 | |
Presentation / Jury | 1 | 12 | |
Project | 1 | 14 | |
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. | X | ||||
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. | X | ||||
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. | X | ||||
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. | X | ||||
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. | X | ||||
10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | X | ||||
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). | X | ||||
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