| Course Name | Women's Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 430 | 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 students to the representation of females in the work of female filmmakers, in films that focus on women’s experiences and in those that are shot from women’s point of view. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course reviews a series of women’s films in the light of readings on gender and cinema. There will be a series of film screenings and class discussions. There is one midterm exam and a final project (exam). |
| 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 | John Berger “Chapter 3” Ways of Seeing. Penguin, pp. 45-64. |
| 2 | History of Women’s Cinema Early Women Filmmakers, 1911-1940 (Excerpts from BFI anthology) | Teresa Lauretis “Aesthetic and Feminist Theory: Rethinking Women’s Cinema” New German Critique. No. 34 (Winter 1985), pp. 154-175. |
| 3 | Male Gaze - Screening: Rear Window, Alfred Hitchcock, 1954 (112 min) | Laura Mulvey “Visual Pleasure and Narrative Cinema” Screen, Volume 16, Issue 3, Autumn 1975, pp. 6–18. Tania Modleski “Chapter 5: The Master’s Dollhouse: Rear Window” in The Women Who Knew Too Much. Hitchcock and Feminist Theory. Taylor and Francis. 1988, pp.72-85. |
| 4 | Female Gaze - Screening: The Love Witch, Anna Biller, 2017 (120 min) | Christopher Heron “A Woman Constructing Her World: Anna Biller Interview” The Seventh Art Online. Apr 5, 2017. http://theseventhart.org/anna-biller-interview-the-love-witch/ |
| 5 | Feminist Gaze - Screening: Jean Dielmann, 23, Quai du Commerce, 1080 Bruxelles, Chantal Akerman, 1975 (3 h 21 min) | Ivone Margulies “Chapter 4: Expanding the "I": Character in Experimental Feminist Narrative 100” Nothing Happens. Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996, 100-128. |
| 6 | Sisterhood - Screening: Thelma and Louise, Ridley Scott (1991) | Sharon Willis “Hardware and Hardbodies, What Do Women Want? A Reading of Thelma and Louise” in Film Theory Goes to the Movies. Cultural Analysis of Contemporary Film. Eds. J. Collins, A. P. Collins, H. Radner. Taylor & Francis, 2012, pp.120-128. Brenda Cooper “‘Chick Flicks’ as Feminist Texts: The Appropriation of the Male Gaze in Thelma & Louise” Women's Studies in Communication. Volume 23, 2000 - Issue 3, pp. 277-306. |
| 7 | Motherhood - Screening: We need to talk about Kevin, Lynne Ramsay, 2001 (112 min) | Sue Thornham “‘A HATRED SO INTENSE....’ We Need to Talk about Kevin, Postfeminism and Women’s Cinema” SEQUENCE: Serial Studies in Media, Film and Music, 2.1 (2013), pp. 1-38. |
| 8 | Midterm Exam | |
| 9 | Non-Western Female Perspectives - Screening: The Day I Became a Woman, Marzieh Makhmalbaf, 2000 (80 min) | Moradiyan Rizi, Najmeh (2015) "Iranian Women, Iranian Cinema: Negotiating with Ideology and Tradition," Journal of Religion & Film. Vol. 19: Iss. 1, Article 35. http://digitalcommons.unomaha.edu/jrf/vol19/iss1/35 Loubna H. Skalli “Communicating Gender in the Public Sphere: Women and Information Technologies in the MENA” Journal of Middle East Women's Studies (2006) 2(2), pp. 35-59. |
| 10 | Blackness and Womanhood - Screenings: And Still I Rise, Ngozi Onwurah, 1993 (30 min) Nobody Knows My Name, Rachel Raimist, 1999 (58 min) | |
| 11 | Women and Resistance - Screening: Toz Bezi, Ahu Öztürk, 2015 (99 min) | Adham Youssef “Dust Cloth - A feminist take on Istanbul’s different worlds” Ahramonline, 4 Nov 2016. http://english.ahram.org.eg/NewsContent/5/1172/247315/Arts--Culture/th-Euro-Film-Panorama/REVIEW-Dust-Cloth--A-feminist-take-on-Istanbul%E2%80%99s-d.aspx |
| 12 | Plural Femininities - Gender and Class in Film Tereddüt, Yeşim Ustaoğlu, 2016 (105 min) | Zeynep Kurtuluş Korkman “Film Review: Clair obscur/Tereddüt” Journal of Middle East Women's Studies. 14(2). 2018, pp. 230-232. |
| 13 | Representation of Female Experience - Salı, Ziya Demirel, 2015 (12 min) Buhar, Abdurrrahman Öner, 2012 (12 min) | TBA |
| 14 | Final project | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | 1 | 50 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| 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 | 16 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | 1 | 25 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 15 | |
| Final Exams | |||
| Total | 120 |
| # | 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
