COURSE INTRODUCTION AND APPLICATION INFORMATION


CLICK HERE FOR THE COURSE SYLLABUS

Course Name
Gender and Media
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
MCS 370
Fall/Spring
3
0
3
4
Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course conceptualizes gender as a category of knowledge and aims to understand how gender is constructed by the media. We will consider gender as a constitutive element of identity and by analyzing its intersection with other categories such as race, class, nation and sexuality, we will grasp the importance of the representation of gender in media and its meaning for our lives. The course consists of lectures, screenings and discussions revolving around critical analysis of and engagement with contemporary examples of film, television, adverts and new media. 1. In-class behavior: Students may not answer cell phones during class, screenings or presentations. Students may use personal computers during class. 2. Assignments: Assignments will not be accepted by email unless arranged with the instructor. All late assignments will be lowered by 30%. This penalty may be waived in cases of illness or emergency documented to my satisfaction. Computer/technology problems are NOT valid excuses for late work. 3. Academic Integrity: Plagiarism and academic dishonesty of any kind will not be tolerated and punishedaccording to the regulations of the university. Plagiarism, copying, cheating, purchasing essays/projects, presenting some one else’s work as your own and all sorts of literary theft is considered academic dishonesty. Under the rubric of İzmir University of Economics Faculty of Communication, all forms of academic dishonesty are considered as crime and end in disciplinary interrogation. According to YÖK’s Student Discipline Regulation, the consequence of cheating or attempting to cheat is 6 to 12 months expulsion. Having been done intentionally or accidentally does not change the punitive consequences of academic dishonesty. Academic honesty is each student’s own responsibility. Plagiarism is the most common form of academic dishonesty. According to the MerriamWebster Online Dictionary, to plagiarize means to steal and pass off (the ideas or words of another) as one’s own. The easiest and most effective way to prevent plagiarism is to give reference when using someone else’s ideas, and to use quotation marks when using someone else’s exact words.
Learning Outcomes The students who succeeded in this course;
  • Demonstrate an understanding of the ways in which gender is constructed and performed across a range of moving image forms and genres.
  • Demonstrate an understanding of different modes of media analysis from films to reality television.
  • Acquiring a critical understanding of key theories of gender and identity.
  • Demonstrate an understanding of the constructions of sexuality, gender, race, ethnicity and nation in the media.
  • Gain familiarity of the construction of gender in the media in the present day, with a focus on a variety of different cultures and media across the world.
  • Gain familiarity with significant critical debates within film and television studies; including work on narrative, genre, performance, industry and audience.
  • Gain experience of analyzing a diverse selection of moving image texts through structured in class activities.
  • Develop informed readings of moving image texts through presentation work; and through written assignments.
Course Content This course examines various images and representations of gender in media paying particular attention to contemporary discussions. Employing theories from cultural studies, media, film and gender studies, it explores different processes and practices of gender, specifically in terms of media representations of femininity, masculinity and queerness. The media plays a major role in "constructing" gender, and “popular” views of what appropriate gendering is, in turn, shape how we communicate with each other.

 



Course Category

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

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Course Introduction: Why should and how do we study gender in the media? G. Tuchman, “The Symbolic Annihilation of Women by the Mass Media.” In Culture and Politics: A Reader, Eds. L. Crothers and C. Lockhart. P. 150-174. New York: St. Martin’s Press, 2000. M. Gallagher, “Media and the Representation of Gender”. In ”The Routledge Companion to Media and Gender. P. 23-31. Eds. C. Carter, L. Steiner and L. McLaughin. London and New York: Routledge, 2014.
2 Gender, sexuality and representation D. Gauntlett, Media, Gender and Identity, London and New York: Routledge, 2002. P. 1-41. S. Hall, “The Work of Representation.” In Representation: Cultural Representations and Signifying Practices. Ed. S. Hall. London, California, New Delhi: Sage Publications, 2003.
3 Media and gender: A historical perspective D. Gauntlett, Media, Gender and Identity, London and New York: Routledge, 2002. Chapters 3 and 4, P. 42-90.
4 Femininity and spectacle M. L. Stewart. “The politics and spectacle of fashion and femininity.” Journal of Women's History. 17(1), (2005): 192-200. J. Gerhard. “Sex and the City: Carrie Bradshaw's queer postfeminism. Feminist Media Studies”. 5(1), (2005): 37-49. Screening: Sex and the City, Season 4 Episode 2 ‘The Real Me’ (1998-2004, HBO) First in class activity: write a few sentences on the representation of femininity in the Sex and the City episode we have seen and make a discussion about your position. You will hand it in at the end of the class.
5 Cinematic representations of masculinity S. Cohan and I. R. Hark. (Eds.) Screening the Male: Exploring Masculinities in Hollywood Cinema. London and New York: Routledge, 2002. P. 1-22. (Introduction and Prologue). L. M. Ta. “Hurt so good: Fight Club, masculine violence, and the crisis of capitalism.” The Journal of American Culture, 29(3), (2006) 265-277. Screening: Fight Club (David Fincher, 1999) First Written Assignment: Feminity, Masculinity and Media Analysis (Short Review)
6 Gender, race and media L. Young. Fear of the Dark: 'Race', Gender and Sexuality in the Cinema. London & New York: Routledge, 1996. P. 5-40. (Chapters 1 and 2) R. M. Entman and A.Rojecki. The black image in the white mind: Media and race in America. Chicago, IL: University of Chicago Press, 2000. P. 205-226.(Chapter 12) Screening: Django Unchained (Quentin Tarantino, 2012)
7 Gender, class and media R. A. Lind, Race and Gender in Electronic Media: Content, Context, Culture. New York and London: Routledge, 2016. P. 1-18. Y. Tasker. Working girls: Gender and sexuality in popular cinema. London & New York: Routledge, 2002. P. 1-18. Screening: Shameless USA (Showtime, 2011-...)
8 Gender and Media in Turkey E. Yanardağoğlu and I. N. Karam. “The fever that hit Arab satellite television: audience perceptions of Turkish TV series.” Identities, 20(5), (2013): 561-579. Screening: Muhteşem Yüzyıl (Magnificent Century, Star TV & Show TV, 2011-2014)
9 Gender and Media in Turkey&beyond E. Cox, “#MeToo is not enough: it has yet to shift the power imbalances that would bring about gender equality”, March 18, 2018. https://theconversation.com/metoo-is-not-enough-it-has-yet-to-shift-the-power-imbalances-that-would-bring-about-gender-equality-92108 E. Dowds, An international legal response to #MeToo, rape and sexual abuse is needed May 4, 2018. https://theconversation.com/an-international-legal-response-to-metoo-rape-and-sexual-abuse-is-needed-95617 N. Karabıyıkoğlu, “Türkiye yayıncılık sektöründe cinsel taciz ve zulüm”, August 2, 2018. http://t24.com.tr/k24/yazi/turkiye-yayincilik-sektorunde-cinsel-taciz,1890 S. Kaplan, “Kadını meze olarak gören entelektüeller ülkesi”, 30 August, 2018. http://t24.com.tr/k24/yazi/kadini-meze-olarak-goren-entelektueller-ulkesi,1920 Second Written Assignment: A short review of the#MeToo campaign and its relation with Turkey.
10 LGBTQ+ identity in media T. Peele, “Introduction: Popular Culture, Queer Culture”, Queer Popular Culture: Literature, Media, Film and Television, New York: Palgrave MacMillan, 2011. S. 1-8. G. Avila-Saavedra, “Nothing queer about queer television: televized construction of gay masculinities”, Media, Culture and Society, Volume: 31 issue: 1, (2009): 5-21. Screening: Benim Çocuğum, documentary film by Can Candan.
11 New Queer Cinema Rich, R. (2013) New Queer Cinema: The Director’s Cut. Durham & London: Duke University Press. P. 16-39. Screening: Mysterious Skin (Gregg Araki, 2004)
12 Student presentations 1 Presentations of an outline of students’ own final projects
13 Student presentations 2 Presentations of an outline of students’ own final projects
14 Conclusion
15 Review of the term
16 Review of the term
Course Textbooks

D. Gauntlett, Media, Gender and Identity, London and New York: Routledge, 2002.

References

The course uses the sources that are listed above

Participation (20%) – You should come to class prepared to ask questions and ready to make lively, insightful,

substantive and respectful contributions to our discussion of the course materials.

Written Assignment (20%): These assignments require the students to select a theme we have covered in the class and conduct a detailed analysis of how that example reflects the context in which it

was produced/distributed/exhibited.

Proje Sunumu (%20): Choose a case study and theory for your final project based on our lectures, readings and screenings. Present an advertisement, film or television clip—any brief text—to be read for its construction of gender. In your presentation, you must 1. identify the context in which this media appeared, 2. describe its particular conceptualization of gender, 3. present an argument about the text’s framing of gender, 4. use citations from the assigned readings or others to support your argument.                                    

Final paper: (40%) It will be a deeper analysis of a selected period or theme with reference to the readings and in-class discussions. The details of the final paper will be discussed in class

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
1
20
Homework / Assignments
Presentation / Jury
1
20
Project
2
40
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Contribution of Semester Work to Final Grade
100
100
Contribution of Final Work to Final Grade
Total

ECTS / WORKLOAD TABLE

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
Field Work
Quizzes / Studio Critiques
1
Homework / Assignments
12
Presentation / Jury
1
8
Project
2
30
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
116

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Qualifications / Outcomes
* Level of Contribution
1
2
3
4
5
1 To be able to critically discuss and interpret the theories, concepts and ideas that form the basis of media and communication discipline. X
2 To have the fundamental knowledge and ability to use the technical equipment and software programs required by the mediaproduction process. X
3 To be able to use the acquired theoretical knowledge in practice. X
4 To be able to critically interpret theoretical debates concerning the relations between the forms, agents, and factors that play a role in the field of media and communication. X
5 To be able to critically discuss and draw on theories, concepts and ideas that form the basis of other disciplines complementing the field of media and communication studies. X
6 To be informed about national, regional, and global issues and problems; to be able to generate problemsolving methods depending on the quality of evidence and research, and to acquire the ability to report those methods to the public. X
7 To be able to gather, scrutinize and use with scientific methods the necessary data to for the processes of production and distribution. X
8 To be able to use and develop the acquired knowledge and skills in a lifelong process towards personal and social goals. X
9 To be able to follow developments in new technologies of media and communication, as well as new methods of production, new media industries, and new theories; and to be able to communicate with international colleagues in a foreign language. (“European Language Portfolio Global Scale,” Level B1) X
10 To be able to use a second foreign language at the intermediate level. X
11 To be able to use computer software required by the discipline and to possess advancedlevel computing and IT skills. (“European Computer Driving Licence”, Advanced Level) X

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest