| Course Name | Film Seminar IV: Contemporary Media Arts |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 312 | 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 | DiscussionQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce an exploration of how contemporary artists utilize documentary forms beyond traditional film theaters. Participants will gain insight into the intersection of contemporary art and documentary practices, examining their implications for the cultural politics surrounding artists, institutions, and the broader art world. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This is the fourth part of the film seminar series, mainly consisting of introducing and screening films which are crucial to forming film culture and not readily available elsewhere. Throughout the course, we analyze examples from Turkey and engage in collective discussions to delve into the perspectives of various artists. Each week, we examine and discuss expert perspectives, complemented by presentations from co-research groups. |
| 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 | Introduction to course content |
| 2 | Pre-Contemporary Art: Avantgarde Art, Artist Manifestos and Modernity | Luis Bunuel – An Andalusian Dog Marco Ferreri – La Grande Bouffe |
| 3 | Pre-Contemporary Art: Conceptual Art and Postmodernism | David Lynch – Rabbits Cindy Sherman – Untitled Film Series |
| 4 | What Is Contemporary Art? | Giorgio Agamben – What is the Contemporary? |
| 5 | Video Art and New Media Art | Martha Rosler – Semiotics of the Kitchen Vito Acconci – Centers Cao Fei – Whose Utopia Bill Viola – The Raft Theo Triantafyllidis – Anti-Gone |
| 6 | Archiving, Documentary and Contemporary Art | Tacita Dean - Girl Stowaway, Kutluğ Ataman – Semiha B. Unplugged |
| 7 | Midterm | Exam I |
| 8 | Relational Aesthetics and Participatory Art | Jeremy Deller - The Battle of Orgreave |
| 9 | Internet as an Art Platform: Internet Aesthetic Movements | Vaporwave, Dreamcore, Corecore, Gitch Aesthetics, Youtube Aesthetics |
| 10 | Video Game Art: Machinima Videos as a New Form of Cinema | Total Refusal – Hardly Working David OReilly - Everything |
| 11 | Digital Folklore, Alternative Reality Games and Prosumerism | Gemini Home Entertainment |
| 12 | Art In The Age of Algorithm | Philip Corner – Piano Activities Wafaa Bilal – Domestic Tension |
| 13 | Evaulation | Evaulation |
| 14 | Final | Exam II |
| 15 | Review of the Semester | |
| 16 | Review of the Semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Michael Wilson – How to Read Contemporary Art: Experiencing The Art of The 21st Century RoseLee Goldberg – Performance: Live Art 1909 to the Present |
| Semester Activities | Number | Weighting |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | 50 | |
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 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 | |||
| Presentation / Jury | |||
| Project | 1 | 29 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 29 | |
| 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. | |||||
| 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. | |||||
| 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
