| 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 | Online | |||||
| 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: 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: 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 | 1 | 20 |
| Presentation / Jury | 1 | 40 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| 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 | 1 | 12 | |
| Presentation / Jury | 1 | 28 | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 14 | |
| Final Exams | |||
| Total | 150 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | X | ||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
