| Course Name | Film Seminar III: Experimental Cinema and Video Art |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 311 | Fall | 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 | DiscussionQ&ALecture / PresentationField work/Application | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to films that have an important place in experimental film history and yet have low visibility in the framework of commercial cinema, and to enable the students to acquire film culture. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This is the third of a series of courses, mainly consisting of introducing and screening films which are crucial to forming film culture and not readily available elsewhere. The films are selected among the experimental, artistic and avant-garde works. Students are expected to present a case study/topic, write a research paper on the same subject, and a practical interpretation of a work or audio/visual sequence they choose. Attendance and active participation is also a part of the student evaluation criteria. |
| Related Sustainable Development Goals |   |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | Early European Avant Garde - Screening: Hans Richter, Fernand Léger, Man Ray, Walter Ruttman, Rene Clair | Ian Christie. French Avant Garde Film in the Twenties: From Specify to Surrealism. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 37-47. |
| 3 | American Avant Garde - Screening: Stan Brakhage, Hollis Frampton, Su Friedrich, Woody and Steina Vasulka, Guy Maddin, Maya Deren, Franz Zwartjes | Lewis Jacobs, Experimental Cinema in America (Part Two: The Post-War Revival. Hollywood Quarterly. Vol. 3, no.3 (Spring, 1948), 278-292. |
| 4 | The Art of TV - Screening: Nam June Paik, Dara Birnbaum, Gary Hill, Bill Viola | Patricia Mellencamp. The Old and the New: Nam June Paik. Art Journal Vol. 54, no.4 Video Art (Winter, 1995): 41-47 |
| 5 | Sound, Image and Rythm - Screening: Claus Blume, Volker Schreiner, Marcel Odenbach, Michael Chion, Peter Kubelka | Brigit Hein. The Structural Film. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 93-107. |
| 6 | Found Footage and Appropriated Material - Screening: Bruce Conner, Peter Tscherkassky | Pavle Levi. Cinema by Other Means. Oxford University Press, 2012. 25-46. |
| 7 | Midterm exam | |
| 8 | From Cinema to Video - Screening: Jean Luc Godard + Anne Marie Mieville | Daniel Morgan. Late Godard and Possibilities of Cinema. University of California Press, 2012. 253-265. |
| 9 | Feminist Film - Screening: Carolee Schneeman, Chantal Akerman, Mara Mattuschka, Virginie Despentes | Ivone Mergulies. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996, 100-128. |
| 10 | Queer Cinema - Screening: Barbara Hammer, Bruce La Bruce, Sadie Benning | Bruce Labruce. Bruce LaBruce: Ride, Queer, Ride! Plug in Inc., 1997. |
| 11 | Film and Performance - Screening: Stellar, Abromowicthz, Miranda July, DV8, Orlan | Kate Ince. Orlan: Millennial Female. Berg, 2000. 99-131 |
| 12 | The Art of Documentary - Screening: Agnes Varda, Werner Herzog, Wim Wenders | David LaRocca. The Philosophy of Documentary Film: Image, Sound, Fiction Truth. Lexington Books, 2016, 287-305. |
| 13 | Representing the Other - Screening: Trinh T. Minh-Ha, Jean Rouch | Trinh T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Indiana University Press, 2009. 79-119. |
| 14 | Project Presentation | |
| 15 | Review of the Semester | |
| 16 | Review of the Semester |
| Course Notes/Textbooks | Ian Christie. French Avant Garde Film in the Twenties: From Specify to Surrealism. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 37-47. ISBN-10 : 0728702010
Brigit Hein. The Structural Film. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 93-107. ISBN-10 : 0728702010
Pavle Levi. Cinema by Other Means. Oxford University Press, 2012. 978-0199841400
Daniel Morgan. Late Godard and Possibilities of Cinema. University of California Press, 2012. 978-0520273313
Ivone Mergulies. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996 978-0822317234 Bruce Labruce. Bruce LaBruce: Ride, Queer, Ride! Plug in Inc., 1997. ISBN-10 : 0921381123
Kate Ince. Orlan: Millennial Female. Berg, 2000. 99-131 ISBN-10 : 1859733344
David LaRocca. The Philosophy of Documentary Film: Image, Sound, Fiction Truth. Lexington Books, 2016, ISBN-10 : 1498504515
Trinh T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Indiana University Press, 2009. ISBN-10 : 0253366038 |
| Suggested Readings/Materials |
| Semester Activities | Number | Weighting |
| Participation | 1 | 5 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | 1 | 25 |
| Project | 1 | 35 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 35 |
| 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 | 14 | 1 | 14 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 13 | |
| Presentation / Jury | 1 | 13 | |
| Project | 1 | 32 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | ||
| 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. | |||||
| 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. | |||||
| 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
