| Course Name | Psychoanalysis and Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 330 | Fall/Spring | 3 | 0 | 3 | 4 |
| 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 use of psychoanalysis as a method of film analysis in 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 Theories of psychoanalysis will be applied to the analysis of films, to discuss questions of representation in relation to issues of gender. Students will be expected to write four 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 | What is Psychoanalysis? | Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47. Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. |
| 3 | Introduction to Freud | Sigmund Freud, Totem and Taboo. London: Routledge, 1950. 1-86. |
| 4 | Alter-Ego Screening: Lost Highway (David Lynch, 1997) | Sigmund Freud, The Interpretation of Dreams. New York, NY: Basic Books. 2005. 248-295. |
| 5 | Introduction to Lacan | Jacques Lacan, Book XI: Four Fundamental Concepts of Psychoanalysis. New York, NY: W.W. Norton&Company, 1998. 1-60 |
| 6 | Mirror Stage Screening: Under the Skin (Jonathan Glazer, 2013) | Jacques Lacan, Ecrits. New York, NY: W.W. Norton&Company, 2006. 75-82. |
| 7 | Feminist Psychoanalysis and Film Theory First response paper deadline | Laura Mulvey, “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. Joan Copjec, “The Orthopsychic Subject: Film Theory and the Reception of Lacan.” October, vol. 49 (1989): 53-71. |
| 8 | Pre-Oedipal Mother Screening: Babadook (Jennifer Kent, 2014) | Melanie Klein, “Early Stages of Oedipus Conflict.” International Journal of Psychoanalysis, vol. 9 (1928): 169-80. |
| 9 | Abject and Hysteria Screening: Possession (Andrzej Zulawski, 1981) | Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 1-31. |
| 10 | Paternity-Maternity Screening: The Brood (David Cronenberg, 1979) Second response paper deadline | Barbara Creed, Monstrous Feminine. London: Routledge, 1994. 43-58 |
| 11 | Eros/Thanatos and Gaze Screening: Amer (Helene Cattet, Bruno Forzani, 2009) | Sigmund Freud, Beyond the Pleasure Principle. London: Hogart Press, 1920-1922. |
| 12 | Gender and Cannibalism Screening: Trouble Every Day (Claire Denis, 2001) Third response paper deadline | Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 32-55. |
| 13 | Love and Masculinity - Screening: The Love Witch (Anna Biller, 2017) | Jacques Lacan, Book XX: On Feminine Sexuality the Limits of Love and Knowledge. New York, NY: W.W. Norton&Company, 1998. |
| 14 | Film Theory and Psychoanalysis - Screening: Perverts Guide to Cinema (Sophie Fiennes, 2006) - Fourth response paper deadline | Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47. Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. |
| 15 | Review of the Semester | |
| 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 | 4 | 75 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 5 | 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 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 4 | 13 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 132 |
| # | 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. | 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. | |||||
| 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
