| Course Name | Hollywood Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 340 | 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 enable students to develop a general knowledge of Hollywood's production/distribution/exhibition networks. It identifies main themes and styles throughout Hollywood's history and discusses its patterns of authorship, star system, technology and genres. The course contextualizes Hollywood as a global system not only as a business but also as a system of meanings. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course examines Hollywood in its economic, cultural and historical context. It studies its industrial dynamics (studio system, star system, etc.) in parallel with its narrative tendencies and stylistic devices. Students are expected to prepare papers analyzing Hollywood's systems in relation to its products and production processes. |
| 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 to the Course | |
| 2 | The Silent Period and the Sound Era - Screening: Modern Times (Charlie Chaplin, 1936) | Gomery, D, The Coming of Sound: A History. New York & London: Routledge, 1980. 87-115 |
| 3 | Genres I: Melodrama - Screening: All About Eve (Joseph L. Mankiewicz, 1950) | Neale, S, Genre and Hollywood. London & New York: Routledge, 2000. 179-205. |
| 4 | Genres II: Film Noir - Screening: Mildred Pierce (Michael Curtiz, 1945) | Naremore, J. (2008). More than night: Film noir in its contexts. University of California Press. 167-220. |
| 5 | Genres III: Psycho-Biddy - Screening: What Ever Happened To Baby Jane? (Robert Aldrich, 1962) | R. M. Hodgens, What Ever Happened to Baby Jane? Film Quarterly, Vol. 16, No. 3 (Spring, 1963), pp. 60-61 |
| 6 | The Production Code and Studios - Screening: Feud (Ryan Murphy, 2017) | Bordwell, D., Staiger, J., & Thompson, K, The classical Hollywood cinema: Film style and mode of production to1960. Columbia University Press, 1985. 1-70. |
| 7 | Genres IV: Western - Screening: The Quick and the Dead (Sam Raimi, 1995) | Bönke, M. (2001) “Myth and law in the films of John Ford” Journal of Law and Society vol. 28 (1), 47-63. |
| 8 | New Hollywood - Screening: Who’s Afraid of Virginia Woolf (Mike Nichols, 1966) - First response paper due date | Tzioumakis, Y. (2006). The New Hollywood and the Independent Hollywood in American Independent Cinema: An Introduction (Rutgers, pp. 169-191. |
| 9 | Authorship - Screening: Kill Bill Vol. 1 (Quentin Tarantino, 2003) | Spadoni, R. (1995). Geniuses of the systems: Authorship and evidence in classical Hollywood cinema. Film History, 7(4), 362-385. |
| 10 | Contemporary Hollywood - Screening: Scream (Wes Craven, 1996) | Neale, S., & Smith, M. (Eds.). (2013). Contemporary Hollywood Cinema. London and New York: Routledge. 280-294 |
| 11 | Hollywood, Internet and Found Footage - Screening: The Taking of Deborah Logan (Adam Robitel, 2014) - Second Response Paper Due date | Bordwell, D. (2002). Intensified Continuity: Visual Style in Contemporary American Film, Film Quarterly. 55 (3), pp. 16-28. |
| 12 | Stardom - Screening: Hunger Games (Gary Ross, 2012) | Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures. Palgrave Macmillan UK, pp. 14-26. |
| 13 | Pixar, Disney and the Digital Era - Screening: Maleficent (Robert Stromberg, 2014) | Watts, S. (1995). Walt Disney: Art and politics in the American century. The Journal of American History. 82 (1), pp. 84-110. - Currah, A. (2007) “Hollywood, the Internet and the world: A geography of disruptive innovation” Industry and Innovation. 14 (4), pp. 359-384. |
| 14 | New Cinema of Attractions? Re-make and Reboot - Screening: Spiderman: Homecoming (Jon Watts, 2017) - Third response paper due date | Behlil, M. (2016). Hollywood is Everywhere: Global Directors in the Blockbuster Era. Amsterdam University Press. 97-111. |
| 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 | 3 | 75 |
| Presentation / Jury | ||
| Project | ||
| 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 | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 3 | 23 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 117 |
| # | 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. | X | ||||
| 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. | 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. | 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. | X | ||||
| 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. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
