media.comm.ieu.edu.tr
Course Name | |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
Fall/Spring |
Prerequisites | None | |||||
Course Language | ||||||
Course Type | Elective | |||||
Course Level | - | |||||
Mode of Delivery | - | |||||
Teaching Methods and Techniques of the Course | ||||||
Course Coordinator | - | |||||
Course Lecturer(s) | - | |||||
Assistant(s) | - |
Course Objectives | |
Learning Outcomes | The students who succeeded in this course;
|
Course Description |
| Core Courses | |
Major Area Courses | ||
Supportive Courses | X | |
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
1 | Introduction to the course | |
2 | Brief History and Origins of Photography | History by David Bate and screening of The Genius of Photography - I (59 mins) |
3 | “What photographs look like, and of why they look that way?” | The Photographer’s Eye by John Szarkowski |
4 | Fine Art and Photography | The Camera Mind and Eye by Minor White |
5 | Narrative and Photography | Screening of La Jetée by Chris Marker (28 mins) |
6 | Photojournalism and Documentary Photography - I | Screening of War Photographer by Christian Frei (97 mins) |
7 | Photojournalism and Documentary Photography - II | Photojournalism and Tabloid Press by Karin E. Becker |
8 | Advertising and Fashion Photography | Fashion by Susan Bright and Paris Minnesota by Alec Soth |
9 | Mass Media, Globalization and Photography | Global Photography by David Bate and Mass Media and Mass Markets by Mary Warner Marien |
10 | Portraiture and the “Self” | What’s in a Face? Blankness and Significance in Contemporary Art Photography by Julian Stallabrass |
11 | Landscape and Architecture Photography | Andreas Gursky: Photographer of the Generic City by Steven Jacobs |
12 | Still Life | Screening of William Eggleston in the Real World by Michael Almereyda (84 mins) |
13 | Student meetings regarding to the projects | Sample proposals will be given for next week. |
14 | Photography Agencies: Magnum, VII, Panos and Getty Images | Project proposals must be submitted this week. |
15 | Project presentation of a photographer(s) | Full attendance is mandatory. |
16 | Class presentation and discussion of the projects | Full attendance is mandatory. An external examiner(s) will evaluate your works as well. |
Course Notes/Textbooks | • Art and Photography – David Campany• Photography – David Bate • The Photography Reader – Liz Wells• Photography: A Cultural History – M. W. Marien• Education of a Photographer –Traub, Heller & Beller *• Another Way of Telling – John Berger & Jean Mohr• Camera Lucida: Reflections on Photography – Roland Barthes * *** Related articles and/or materials will be supplied, if necessary. *** * Turkish translations are available. |
Suggested Readings/Materials | Documentary films will be screened, when necessary. |
Semester Activities | Number | Weigthing |
Participation | 1 | 20 |
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | ||
Project | 4 | 80 |
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 |
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 | 12 | 3 | |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | |||
Presentation / Jury | |||
Project | 4 | 14 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | |||
Final Exams | |||
Total | 140 |
# | Program Competencies/Outcomes | * Contribution Level | ||||
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. | |||||
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. | |||||
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. | |||||
7 | To be able to gather, scrutinize and use with scientific methods the necessary data to for the processes of production and distribution. | |||||
8 | To be able to use and develop the acquired knowledge and skills in a lifelong process towards personal and social goals. | |||||
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) | |||||
10 | To be able to use a second foreign language at the intermediate level. | |||||
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