Course Name | Film and the City |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
CDM 380 | Fall/Spring | 2 | 2 | 4 | 5 |
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 | The aim of the course is to make the students gain knowledge on issues that appear at the intersection points of urban studies and film studies, by focusing on the relationship between film and the city. |
Learning Outcomes | The students who succeeded in this course;
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Course Description | Since the end of the 19th century, film production has been closely related to urbanization and industrialization. The city has also been a fascinating setting and subject for cinema. This course will investigate the multiple relationships between film and the city, by dwelling on topics such as film noir and the urban underworld, utopian / dystopian imaginations of the city in film, how cities are shaped by film production. |
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 | The Modern Metropolis Screening: Walther Ruttmann, Berlin. Symphony of a Great City | Barbara Mennel “Modernity and the City Film: Berlin” in Cities and Cinema.2008. Recommended: Georg Simmel “The Metropolis and Mental Life” (1903) in G. Bridge & S. Watson, eds. The Blackwell City Reader. 2002. Anton Kaes “Leaving Home: Film, Migration and the Urban Experience” New German Critique. 1998. |
2 | Film and the Urban Fabric | Giuliana Bruno “Motion and Emotion: Film and the Urban Fabric” in A. Webber and E. Eds. Cities In Transition: The Moving Image and the Modern Metropolis. 2008. |
3 | The Cinematic City | Neyar AlSayyad “Urbanizing Modernity: the traditional cinematic small town” in Cinematic urbanism: a history of the modern from reel to real. 2006. Formularende Formularbeginn |
4 | City Noir: Los Angeles Screening: David Lynch | Frank Krutnick "Something More Than Night: Tales of the Noir City" in Cinematic City. D.B. Clarke. 1997. |
5 | Cinematic Representations of Istanbul Screening: Tabutta Rövaşata, Derviş Zaim. | Özlem Köksal, World Film Locations: Istanbul. 2011. Recommended: Asuman Suner, "Tabutta Rövaşata’da Agorafobik Kent, Açık Alana Kapatılmışlık ve Dehşet" Toplum ve Bilim, No. 94, 10/2002, s. 86-108. |
6 | Film as Urban Memory Screening: Hiroshima Mon Amour, Alain Resnais/Marguerite Duras, 1959. | G. Pratt & R.M. San Juan “Remembering to forget to remember. The persistence of memory and the cinematic city” in Film and Urban Space. Critical Possibilities. 2014. |
7 | Migration, City, Film Screening: Otobüs, Tunç Okan. 1975. | Ipek Türeli, „Istanbul in Black and White: Cinematic Memory” 2012. (http://www.asia.si.edu/research/articles/istanbul-in-black-and-white.asp) |
8 | Utopia / Dystopia Screening: Metropolis, Lang, 1927. | Thomas Elsaesser. Metropolis. British Film Institute. 2008. Recommended: Geoffrey Nowell-Smith “Cities : Real and Imagined” in M.S. & T. Fitzmaurice, Eds. Cinema And The City : Film and Urban Societies in a Global Context. 2001. |
9 | Film Industry and Urban Space | Josh Stenger, “Return to Oz: The Hollywood Redevelopment Project, or Film History as Urban Renewal” in Shiel & Fitzmaurice (Eds) Cinema and the City. 2001, pp. 59-72. |
10 | The Political Economy of the City Screening: Patrick Keiller, from the Trilogy: London, Robinson in Space, Robinson in Ruins. | Patrick Keiller interview in the Guardian: https://www.theguardian.com/film/2012/nov/30/patrick-keiller-london-original-interview |
11 | Women’s experience in city films Screening: The Big City, Satyajit Ray | Derek Malcolm interview with Satyajit Ray. Sight & Sound 51:2, Spring 1982, 106-109. |
12 | Ghetto films Screening: Le Haine, Kassovitz | Barbara Mennel “Ghettos and Barrios” in Cities and Cinema, 153-175. |
13 | Time and the City Screening: Chris Marker | Sarah Cooper “Time and the City: Chris Marker” in Cities in Transition, A. Webber & E. Wilson (Eds). 2008, 113-122. |
14 | Fragments of the City: Non-linear narrative Screening: Planet Galata (2011, Florian Thalhofer & Berke Baş) http://www.planetgalata.com | |
15 | Overview | |
16 | Overview |
Course Notes/Textbooks | |
Suggested Readings/Materials | The course uses the sources that are listed above in the Weekly Subjects and Related Preparations. |
Semester Activities | Number | Weigthing |
Participation | 1 | 20 |
Laboratory / Application | ||
Field Work | 1 | 20 |
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | 1 | 10 |
Project | 1 | 50 |
Seminar / Workshop | ||
Oral Exam | ||
Midterm | ||
Final Exam | ||
Total |
Weighting of Semester Activities on the Final Grade | 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 | 4 | 64 |
Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
Study Hours Out of Class | 0 | ||
Field Work | 1 | 20 | |
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | |||
Presentation / Jury | 1 | 10 | |
Project | 1 | 40 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | |||
Final Exams | |||
Total | 134 |
# | 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. | |||||
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). | 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