| Course Name | Contemporary Cinema in Turkey |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 335 | 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 domestic cinema in Turkey as an art form and a popular culture industry since 1990s. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course will focus on the emergence, transformation and current state of contemporary cinema in Turkey. It covers subjects such as political cinema, identity issues, near history, sufism, women and gender, urbanization, transnationalism and short film making. The class time will be used to focus on two select films related to the subject of that week, and to critically assess these films with the help of required materials such as readings and video interviews. |
| 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 How to avoid plagiarism | |
| 2 | Revisiting history: Film industry in Turkey until 1990s. | Savaş Arslan, “Introduction” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011, pp. 1-22 |
| 3 | Emergence of a new industry Films: Şerif Gören, Amerikalı (1993) Yavuz Turgul, Eşkiya (1996) | Zeynep Çetin Erus, “Film Endüstrisi ve Dağıtım: 1990 Sonrası Türk Sinemasında Dağıtım Sektörü,” Selçuk İletişim 4 (4), 2007, pp. 5-16. |
| 4 | Emergence of a new cinema Films: Nuri Bilge Ceylan, Mayıs Sıkıntısı (1999) Zeki Demirkubuz, Üçüncü Sayfa (1999) | Geoff Andrew, “Beyond the Clouds: An Interview with Nuri Bilge Ceylan,” Senses of Cinema 32, 2004, http://sensesofcinema.com/2004/feature-articles/nuri_bilge_ceylan/ |
| 5 | Dealing with the near history Films: Çağan Irmak, Babam ve Oğlum (2005) Özcan Alper, Sonbahar (2008) | Laurence Raw, “Çağan Irmak: Yeşilçam Revisited,” same author Six Turkish Filmmakers, Madison, Wisconsin: University of Wisconsin Press, 2017, pp. 89-112. |
| 6 | Issues of identity Films: Handan İpekçi, Büyük Adam Küçük Aşk (2001) Yılmaz Erdoğan and Ömer Faruk Sorak, Vizontele (2001) | Gönül Dönmez-Colin, “Denied Identities,” same author Turkish Cinema:Identity, Distance and Belonging, London: Reaktion Books, 2008, pp. 89-115. |
| 7 | Gender Films: Pelin Esmer, Gözetleme Kulesi (2012) Yeşim Ustaoğlu, Tereddüt (2016) | Eylem Atakav, “Women and New Turkish Cinema,” in Women and Turkish Cinema, Routledge, London and New York, 2013, pp. 108-115. |
| 8 | Sufi influences Films: Derviş Zaim, Cenneti Beklerken (2006) Reha Erdem, Kosmos (2010) | Interview with Derviş Zaim on Cenneti Beklerken, Altyazı 47, 2006, pp. 40-43. |
| 9 | Political cinema Films: Emin Alper, Tepenin Ardı (2012) Emre Yeksan, Körfez (2017) | On the Golf with Emre Yeksan (video discussion) https://www.youtube.com/watch?v=j3rkU53ERl4 |
| 10 | Urban films Films: Mahsun Kırmızıgül, Güneşi Gördüm (2009) Aslı Özge, Köprüdekiler (2010) | Video interview with Aslı Özge on Köprüdekiler https://www.youtube.com/watch?v=VvQt2g5STkE |
| 11 | Blockbuster cinema Films: Selçuk Aydemir, Düğün Dernek (2013) Togan Gökbakar, Recep İvedik 5 (2017) | Murat Akser, “Blockbusters in Turkish Cinema,” Directory of World Cinema: Turkey, Intellect Books, 2013, pp. 124-145. |
| 12 | Transnationalism Films: Fatih Akın, Duvara Karşı (2004) Deniz Gamze Ergüven, Mustang (2015) | Rob Burns, “From Two Worlds to a Third Space: Stereotypy and Hybridity in Turkish-German Cinema,” Gökçen Karanfil and Serkan Şavk (eds.), Imaginaries Out of Place, Cambridge Scholars Publishing, 2013, pp. 56-88. |
| 13 | Short filmmaking Selected short films | Murat Akser, “New Media and Film Festivals in the Middle East,” CINEJ 4.1 (2014), 111-121 |
| 14 | Evaluation of the assignments | |
| 15 | Semester Review | |
| 16 | Final Exam |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Eylem Atakav (ed.), Directory of World Cinema: Turkey, Intellect Books, 2013. |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 2 | 50 |
| Presentation / Jury | ||
| Project | 1 | 40 |
| 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 | 4 | 100 |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 0 | |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 3 | 48 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 2 | 7 | |
| Presentation / Jury | |||
| Project | 1 | 9 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 71 |
| # | 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. | |||||
| 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). | X | ||||
| 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. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
