COURSE INTRODUCTION AND APPLICATION INFORMATION

Course Name
Film Semineri II: Modern Sinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 212
Spring
3
0
3
4
Prerequisites
None
Course Language
English
Course Type
Required
Course Level
First Cycle
Mode of Delivery face to face
Teaching Methods and Techniques of the Course Discussion
Problem Solving
Q&A
Lecture / Presentation
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course will cover national cinemas, film movements, filmmakers and rising transnationalism of the world film industry from 1960 to present.
Learning Outcomes The students who succeeded in this course;
  • Analyze global social, economic, and political issues addressed in modern films from different perspectives
  • Identify national, transnational and supranational modes of film production in modern cinema
  • Contrast modern film movements in terms of narrative, technique, authorial styles
  • Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization
  • Analyze films in the context of their socio-cultural milieu
Course Description This is the second of a series of courses, introducing and screening films crucial to forming film culture. Each week we will analyse a film and set of film movements by paying close attention to a specific cultural context and the complex ways local, national and regional experiences.
Related Sustainable Development Goals

 



Course Category

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

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 Introduction
2 British New Wave and Free Cinema. Lindsay Anderson - If (1968) (111 min) Sarah Street “From Ealing Comedy to the British New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 176-193. Robinson, David “Anderson shooting IF...” Sight and Sound; Summer 1968; 37, 3; pg. 130."Sarah Street “From Ealing Comedy to the British New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 176-193. Robinson, David “Anderson shooting IF...” Sight and Sound; Summer 1968; 37, 3; pg. 130.
3 New German Cinema. Wim Wenders - Alice in the Cities (1974) (110 min) Thomas Elsaesser “The New German Cinema” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.194-213. John Pym “The Road from Wuppertal” Sight and Sound; Fall 1984; 53, 4; pg. 244.
4 Essay Film. Sans Soleil, Chris Marker (1983) Laura Rascaroli. “The Essay Film: Problems, Definitions, Textual Commitments.” Framework: The Journal of Cinema and Media, FALL 2008, Vol. 49, No. 2, pp. 24-47. David Montero “Film also ages: time and images in Chris Marker's Sans soleil”, Studies in French Cinema, 6:2, 2006, pp. 107-115. Chris Darke “Chris Marker” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 530-531.
5 The New American Independent Cinema. Stranger Than Paradise, Jim Jarmusch (1984) Richard Linnett “As American as You Are: Jim Jarmusch and Stranger than Paradise” Cinéaste, Vol. 14, No. 1 (1985), pp. 26-28. Emanuel Levy “The New York School of Indies” in Cinema of Outsiders. The Rise of American Independent Film. New York University Press, pp. 184-191.
6 Cinéma du Look: French New New Wave. Nikita, Luc Besson (1990). Midterm 1 Sue Harris, “Cinema du Look,” European Cinema, ed. Elizabeth Ezra. Oxford University Press. 2004. pp.219-233.
7 New Iranian Cinema. Close-up, Abbas Kiarostami (1990) Hamid Naficy “Iranian Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 672-678. Godfrey Cheshire “Abbas Kiarostami: A Cinema of Questions” Film Comment, Vol. 32, No. 4 (July-August 1996), pp. 34-36. Bernard Stiegler “On Abbas Kiarostami’s Closeup” Parrhesia. Vol. 20, 2014, pp. 40-48.
8 New Asian Cinema. Fallen Angels, Wong Kar-wai. 1995. Dominic Pettman (2000) “The floating life of fallen angels: Unsettled communities and Hong Kong cinema,” Postcolonial Studies: Culture, Politics, Economy, 3:1, 69-80. Chuck Stephens “Time pieces: Wong Kar-Wai and the Persistence of Memory” Film Comment, Vol. 32, No. 1 (Jan-Feb 1996), pp. 12-18.
9 Midterm week
10 New European Cinema I - Banlieus. Le Haine, Mathieu Kassovitz (1995) Amy Siciliano, “La Haine: Framing the ‘Urban Outcasts’” ACME International Journal for Critical Geographies, Vol. 6 No. 2. 2007, pp.211-230.
11 Northern European Farce. Drifting Clouds, Aki Kaurismaki (1996). Midterm 2 Bert Cardullo “Finnish Character: An Interview with Aki Kaurismäki” Film Quarterly, Vol. 59, No. 4 (Summer 2006), pp. 4-10. Jonathan Romney “Last Exit to Helsinki: The Bleak Comedic Genius of Aki Kaurismäki, Finland’s Finest” Film Comment, Vol. 39, No. 2 (MARCH/APRIL 2003), pp. 43-45, 47.
12 Post-Socialist Eastern European Cinema Screening Occident, Cristian Mungiu, 2002 (102 min) Adriana Cordali Gradea (2018) “The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident” Journal of European Studies. Volume 48, issue 3-4, page(s): 250-264. Marian Țuțui and Raluca Iacob, “New Romanian Cinema: Geography and Identity” in Christina Stojanov (Ed) The New Romanian Cinema. Edinburg University Press. 2021, pp. 211-224.
13 New European Cinema II - Postcolonial Europe. Caché, Michael Haneke (2005) Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296. Isabelle McNeill “Transitional Spaces: Media, Memory and the City in Contemporary French Film” in Cities in Transition. The Moving Image and The Modern Metropolis. Ed. A. Webber & E. Wilson. Wallflower Press. 2008, p. 205-215.
14 "New European Cinema III - Migration and Diasporia. Gegen die Wand, Fatih Akın (2004) " Daniela Berghahn “No place like home? Or impossible homecomings in the films of Fatih Akın” New Cinemas: Journal of Contemporary Film, Volume 4, Number 3, Feb 2006, pp. 141-157.
15 FINAL PROJECT
16 Final exams
Course Notes/Textbooks

 

 
Suggested Readings/Materials

Geoffrey Nowell-Smith. The Oxford History of World Cinema. Oxford University Press, 1999.

Elizabeth Ezra. Ed. European Cinema. Oxford University Press. 2004

 

EVALUATION SYSTEM

Semester Activities Number Weighting
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
1
40
Seminar / Workshop
Oral Exam
Midterm
2
40
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
16
2
32
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
1
20
Seminar / Workshop
Oral Exam
Midterms
2
10
Final Exams
    Total
120

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
 Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.

 X
2

To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.
3

To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.
4

To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.
5

To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.
6

To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.

 X
7

To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.

 X
8

To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.
9

To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.

X
10

To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.
11

To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).
12

To be able to use a second foreign language at the medium level.
13

To be able to connect the knowledge accumulated throughout human history to the field of expertise.

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