| Course Name | Music and Sound Design in Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 400 | Fall/Spring | 2 | 2 | 3 | 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 | Students will learn to produce a short film/video with a creative soundtrack. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This course will start out with a discussion of how sound cooperates with the image track. The understanding is that sound affects the way the image track is perceived and vice versa. Samples from films and video works will be analyzed. Students are expected to be able to develop their own styles in combining image and sound in a term project. |
| 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. / Screening: Playtime (1967) by Jacques Tati | |
| 2 | A brief history and basic terms of sound and music in film. / Basics of sound editing. / Screening: Berberian Sound Studio (2012) by Peter Strickland. | Leo Murray; “Audiovisual theories of sound” in Sound Design Theory and Practice: Working with Sound (2019, Routledge) |
| 3 | Audio analysis of several film clips in class. / Creating a sound library in an editing project. | David Bordwell and Kristin Thompson; Fundamental Aesthetics of Sound in the Cinema |
| 4 | The voice in cinema. Dialogue, monologue, narration and acousmêtre. Post-synchronization. / Applied study of synchronisation and dubbing. / Screening: clips from Lost Highway (1997) by David Lynch, Annie Hall (1977) and New York Stories (1989) by Woody Allen | Michel Chion; “Raising the Voice” in The Voice in Cinema |
| 5 | Foley, ambience and effects. Creating a soundscape. Using noise and silence. / Foley training. / Screening: The Secret World of Foley (2014) by Daniel Jewel | Homework 1: Dub a scene of your choice. |
| 6 | Music in cinema. Film scoring and music supervision. / Finding and working with temporary music tracks. | Bring a selection of music tracks you would like to use. |
| 7 | Music videos and other examples of visual productions based on sound. / Editing for music and sound. | |
| 8 | Diverse practices in sound design. Sensorial cinema. Sound space. Sound design for VR. / Mixing basics. / Screening: Leviathan (2012) by Lucien Castaing-Taylor, Verena Paravel | Homework 2: Found footage edit on a music track. |
| 9 | Discussions on students’ projects | Bring your choice of sequences. |
| 10 | Imagining the sound. Audio-scripting. / Analysis and audio-breakdown of a sequence. | David Lewis Yewdall; “Success or Failure: Before the Camera Even Rolls” in Practical Art of Motion Picture Sound (2012, Elsevier) |
| 11 | Directing for the sound. Tips on location sound recording. / Working on students’ projects. / Screening: Blow Out (1981) by Brian De Palma | |
| 12 | Sound and music in Turkish Cinema. Screening of several film clips from early to contemporary Turkish cinema. / Working on students’ projects. | Erdogan, Nezih. “Mute bodies, disembodied voices: notes on sound in Turkish popular cinema.” |
| 13 | Sound post production. Working and communicating with sound designers, composers and re-recording mixers. / Working on students’ projects. | |
| 14 | Reviewing students’ projects. Finalizing students’ projects. | |
| 15 | Review of the semester | |
| 16 | Review of the final projects |
| Course Notes/Textbooks | Rick Altman “Moving Lips: Cinema as Ventriloquism”; Michel Chion; The Voice in Cinema |
| Suggested Readings/Materials | Chion, Michel. Audio-Vision: Sound on Screen (1994, Columbia University Press) / Chion, Michel. The Voice in Cinema (1999, Columbia University Press) / Murray, Leo. Sound Design Theory and Practice: Working with Sound (2019, Routledge) / Altman, Rick. Sound Theory / Sound Practice (1992, Routledge) |
| Semester Activities | Number | Weigthing |
| Participation | 16 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 2 | 40 |
| Presentation / Jury | ||
| Project | 1 | 50 |
| 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 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 2 | |
| Study Hours Out of Class | 16 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 2 | 12 | |
| Presentation / Jury | |||
| Project | 1 | 24 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 144 |
| # | 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
