| Course Name | Theory and Practice of Digital Video Editing |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 490 | 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 | This course aims to teach the aesthetic tools of film editing language through theory and practice. Students will develop the components of cinematic storytelling through the field of editing. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course combines theoretical work and film editing practice. Each class will start with a theoretical framework and scene breakdown, followed up by in class assignments on digital editing practices. Students will both shoot and edit in order to develop their cinematic storytelling style and aesthetic. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | Principles of Continuity Editing/Parallel Editing/Non-Linear Editing In Class Assignment Screening: The Cutting Edge: The Magic of Movie Editing (2004) | Sergei Eisenstein, Film Form: Essays in Film Theory. Edited and translated by Jay Leyda, Harcourt, Brace & World, Inc, 1949, New York. Selections from Chapters 1, 4 & 6 |
| 3 | 1st Assignment, in class editing | K. Dancyger (2011) The Technique of Film & Video Editing: History, Theory, and Practice, p. 391-398. |
| 4 | Dialogue Editing/Sound Editing 2nd Assignment | Chapter One and Eleven: John Purcell, 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal Press. |
| 5 | Dialogue scene/Sound editing cont. | |
| 6 | Dialogue scene/Sound editing cont. | |
| 7 | Dialogue scene/Sound editing cont. | |
| 8 | Rhythm and Emotion/Fight Scene 2nd Assignment due | Walter Murch, 1995, In the Blink of an Eye: A perspective on Film Editing. Silman-James Press. |
| 9 | Fight Scene Shooting and Editing 3rd assignment | |
| 10 | Grading 4th assignment | |
| 11 | Shooting/Editing Final Project | |
| 12 | Shooting/Editing Final Project | |
| 13 | Editing final project | |
| 14 | Final submission | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 1 | 30 |
| Portfolio | ||
| Homework / Assignments | 4 | 60 |
| Presentation / Jury | 1 | 10 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 6 | 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 | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | 1 | 8 | |
| Portfolio | |||
| Homework / Assignments | 4 | 10 | |
| Presentation / Jury | 1 | 5 | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 117 |
| # | 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. | |||||
| 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. | |||||
| 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. | |||||
| 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). | |||||
| 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
