| Course Name | Contemporary Cinema in Turkey |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 215 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | face to face | |||||
| Teaching Methods and Techniques of the Course | DiscussionPerformanceLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce domestic cinema in Turkey as an art form and a popular culture industry since the 1990s. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course will focus on the emergence, transformation and current state of contemporary cinema in Turkey. It covers subjects such as political cinema, identity issues, near history, sufism, women and gender, urbanization, transnationalism and short film making. |
| Related Sustainable Development Goals |  |
|
| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | Revisiting history: Film industry in Turkey until the 1990s. | Savaş Arslan, “Introduction” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011, pp. 1-22. |
| 3 | Emergence of a new film industry in the 1990s | Şerif Gören, Amerikalı (1993) Yavuz Turgul, Eşkiya (1996) |
| 4 | Emergence of new Turkish cinemas | Laurence Raw, “Çağan Irmak: Yeşilçam Revisited,” same author Six Turkish Filmmakers, Madison, Wisconsin: University of Wisconsin Press, 2017, pp. 89-112. Nuri Bilge Ceylan, Mayıs Sıkıntısı (1999) Zeki Demirkubuz, Üçüncü Sayfa (1999) |
| 5 | Memory, nostalgia and reconstructing history | Asuman Suner. “Popular Nostalgia Films,” in New Turkish Cinema: Belonging, Identity and Memory. 2009, 25-50. Çağan Irmak, Babam ve Oğlum (2005) Özcan Alper, Sonbahar (2008) |
| 6 | Silences of women | Eylem Atakav, “Women and New Turkish Cinema,” in Women and Turkish Cinema: Gender Politics, Cultural Identity and Representation (Routledge 2013), 108-115. Özlem Güçlü, “Silent Representations of Women in the New Cinema of Turkey,” sinecine 1:2, 2010, 71-85. Pelin Esmer, Gözetleme Kulesi (2012) Yeşim Ustaoğlu, Tereddüt (2016) |
| 7 | Assignment week | In-class assignment writing |
| 8 | Political cinema | Handan İpekçi, Büyük Adam Küçük Aşk (2001) Emin Alper, Kurak Günler (2021) |
| 9 | The city in context | Emre Yeksan, Körfez (2017) Aslı Özge, Köprüdekiler (2010) On the Golf with Emre Yeksan (video discussion) https://www.youtube.com/watch?v=j3rkU53ERl4 |
| 10 | Popular genre cinema and blockbusters | Mert Örsler & Colleen Kennedy-Karpat (2020) “Cem Yılmaz and Genre Parody in Turkish National Cinema,” Journal of Popular Film and Television, 48:1, 38-48. Togan Gökbakar, Recep İvedik 5 (2017) Cem Yılmaz, Arif V 216 (2018). |
| 11 | Documentary | Select documentary films |
| 12 | Short film | Select short films |
| 13 | New generation filmmaking | Select VR, experimental, AI and 360-degree films. |
| 14 | Evaluation of the assignments | |
| 15 | Semester review | |
| 16 | Semester review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Gönül Dönmez-Colin (2014) The Routledge Dictionary of Turkish Cinema. Routledge Eylem Atakav (ed., 2013), Directory of World Cinema: Turkey, Intellect Books. |
| Semester Activities | Number | Weighting |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 25 |
| Presentation / Jury | 1 | 15 |
| Project | 1 | 40 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 60 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 40 |
| 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 | 14 | 3 | 42 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 8 | |
| Presentation / Jury | 1 | 6 | |
| Project | 1 | 16 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 120 |
| # | 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. | X | ||||
| 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. | |||||
| 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
