COURSE INTRODUCTION AND APPLICATION INFORMATION

Course Name
Contemporary Global Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 445
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 contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context.
Learning Outcomes The students who succeeded in this course;
  • Define main themes, key moments and trends in contemporary world cinema from the 1980s onwards.
  • Discuss how world cinema intervenes in debates about, and contributes new understandings to, our formulation of the local, national and the transnational in contemporary film studies.
  • Compare discourses regarding questions of representation in the context of gender, race, class and sexuality in cinema across different geographies.
  • Analyze key concepts in film studies and how they apply to world cinema.
  • Discuss meanings of the concepts of local, national and global in their wider implications to film and media studies as well as other disciplines of humanities.
  • Analyze diverse beliefs, practices, stories, and conditions within a wide range of Western and non-Western Cultures through the representations in the films.
  • Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization.
  • Evaluate complex relationships between national identity and transnational production.
Course Description This course combines theoretical work and the viewing of films. Students are responsible for the preparation of three response papers. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text.
Related Sustainable Development Goals

 



Course Category

 Core Courses
Major Area Courses
Supportive Courses
X
Media and Managment Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 Introduction
2 Middle Eastern Cinema Screening: Under the Shadow (Babak Anvari, 2016) Moore, L. C. (2005). Women in a Widening Frame:(Cross-) Cultural Projection, Spectatorship and Iranian Cinema. Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33
3 Eastern European Cinema I Screening: White God (Kornel Mundrczo, 2014) Iordanova, D. (2001). “Cinema of Flames: Balkan” Film. Culture and the Media (London: BFI, 2001), 178. Ieta, R. (2010). “The new Romanian cinema: a realism of impression”. Film Criticism, 34(2/3), 22.
4 Eastern European Cinema II Screening: Dogtooth (Yorgos Lanthimos, 2009) Papadimitriou, L. (2011) “The national and the transnational in contemporary Greek cinema” New review of film and television studies, 9(4), 493-512. Chalkou, M. (2012). “’new cinema of ‘emancipation’: Tendencies of independence in Greek cinema of the 2000s” Interactions: Studies in Communication & Culture, 3(2), 243-261. Koutsourakis, A. (2012). “Cinema of the Body: The Politics of Performativity in Lars von Trier's Dogville and Yorgos Lanthimos' Dogtooth” Cinema: Journal of Philosophy and the Moving Image, 3, 84-108.
5 Western European Cinema I Screening: Turist (Ruben Östlund, 2014) Geuens, Jean-Pierre, “Dogma 95: A Manifesto for Our Times” Quarterly Review of Film & Video, Vol. 18, Issue 2, (2001) pp. 191 – 202
6 Western European Cinema II Screening: Climax (Gaspar Noe, 2018) Powrie, P. (1998). “Heritage, history and ‘new realism’: French cinema in the 1990s” Modern & Contemporary France, 6(4), 479-491. Gibson, B. (2006). “Bearing witness: The Dardenne Brothers' and Michael Haneke's implication of the viewer” CineAction, (70), 24.
7 Indian Cinema Screening: Monsoon Wedding (Mira Nair, 2001) First Response Paper due date. Larkin, B. (1997) “Indian films and Nigerian lovers: media and the creation of parallel modernities” Africa, 67(03), 406-440.
8 African Cinema Screenings: Call Me Kuchu (Katherine Fairfax Wright, Malika Zouhali-Worrall, 2012) Adesokan, A. (2012). “Nollywood and the idea of the Nigerian cinema” Journal of African Cinemas, 4(1), 81-98.
9 Cinema in Australia and New Zealand Screening: Heavenly Creatures (Peter Jackson, 1994) Scahill, A. (2012) “Wonderful, Heavenly, Beautiful, and Ours’: Lesbian Fantasy and Media(ted) Desire in Heavanly Creatures” Journal of Lesbian Studies. Vol. 16 issue 3, 365-375.
10 Korean Cinema Screening: Bedevilled (Jang Cheol Soo, 2010) Second Response Paper due date. Darcy Paquet. (2009). New Korean Cinema: Breaking the Waves. Columbia University Press. 44-61.
11 Hong Kong and Chinese Cinema Screening: Suzhou River (Ye Lou, 2000) Lee, V. P. (2009). Hong Kong cinema since 1997: the post-nostalgic imagination. Palgrave Macmillan. 163-184.
12 Japanese Cinema Screening: Confessions (Tetsuya Nakashima, 2010) Dew, O. (2007). “Asia Extreme!: Japanese Cinema and British Hype” New Cinema: Journal of Contemporary Film Vol. 5 issue 1, 53-73. Hyland, R. (2002). Hybridity in Contemporary Japanese Cinema: Heterogeneity in a Homogenous Society. Asian Cinema Vol. 13 issue 2, 105-114.
13 Latin American Cinema Screening: A Fantastic Woman (Sebastian Lelio, 2017) Rocha, C. (2009) ”Contemporary Argentine Cinema during Neoliberalism” Hispania, vol. 92 no. 4 (December, 2009) 841-851.
14 Diasporic Cinema / Beyond Transnational Cinema Screening: White Material (Claire Denis, 2009) Bergfelder, T. (2005). “National, transnational or supranational cinema? Rethinking European film studies” Media, culture & society, 27(3), 315-331. Higbee, W., & Lim, S. H. (2010). “Concepts of transnational cinema: Towards a critical transnationalism in film studies” Transnational Cinemas, 1(1), 7-21.
15 Third response paper due date
16 Course Overview
Course Notes/Textbooks
Suggested Readings/Materials

 

EVALUATION SYSTEM

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

ECTS / WORKLOAD TABLE

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
20
Presentation / Jury
Project
Seminar / Workshop
Oral Exam
Midterms
Final Exams
    Total
108

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
 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.
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.
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.
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