| Course Name | Digital Media Arts Studio |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 332 | Spring | 4 | 4 | 6 | 10 |
| Prerequisites |
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| Course Language | English | ||||||||
| Course Type | Required | ||||||||
| Course Level | First Cycle | ||||||||
| Mode of Delivery | face to face | ||||||||
| Teaching Methods and Techniques of the Course | Group WorkCritical feedbackJuryLecture / PresentationField work/Application | ||||||||
| Course Coordinator | - | ||||||||
| Course Lecturer(s) | |||||||||
| Assistant(s) | - | ||||||||
| Course Objectives | This course will teach advanced digital filmmaking skills with lectures, screenings, discussions and hands-on practice. The focus is on new narrative forms using interactive and non-linear storytelling methods. Students will continue sharpening their skills in pre-production, production, and post-production. In addition, they will develop new skills in formats such as interactive film, web documentary, video installation and video mapping. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This studio course is a sequel to Digital Film Studio III with a particular emphasis on interactive storytelling and using a variety of digital tools and platforms. There will be individual assignments pertaining to story development and translating ideas and concepts into visual, non-linear digital media language. There will also be individual in-class presentations, assignments and a final project. |
| 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 to the course What is contemporary art? Installation, video art, photography, sculpture, performance, multimedia etc. | Assignment: Bring a contemporary artwork Krauss, R. (1979) “Sculpture in the Expanded Field” October, Vol. 8 (Spring), pp. 30-44 |
| 2 | Contemporary art discussion Liminal space: Backrooms, nostalgia, internet, transmedia, transit. Liminal space examples from films, video games, photography, internet memes | Assignment: Idea development. Liminal space research Wiggins, B. E. (2024) “The Backrooms and liminal spaces: Explorations of a digital urban legend” New Media & Societ, 00(0), 1-19. |
| 3 | Discussion on ideas Field work | Assignment: Field trip to Palmiye AVM Students are required to have their cameras with them or borrow from Faculty, field research |
| 4 | Talk on field research outcomes: photography/video Types of Digital Storytelling: Interactive documentary, video art, digital compositing, 360 VR, AR, Mapping, Video game | Assignment: Concept development |
| 5 | Work on the concept Visual references, production, research | Assignment: Visual reference and concept design |
| 6 | Visual references, production research examples Screening: Manifesto, Julian Rosefeldt, 2015 How to write a work statement, what is artist statement. | Assignment: Work statement |
| 7 | Visual essay examples Research on your visual essays | Assignment: Video essay |
| 8 | Video essay presentations Project planning, interactive design, user experience, installation | Assignment: Production |
| 9 | Midterm week | |
| 10 | Production & Post-Production | Assignment: Footage |
| 11 | Production & Post-Production | Assignment: Footage |
| 12 | Production & Post-Production | Assignment: Footage |
| 13 | Exhibition preparation | Assignment: Print material, brochures, photography, installation etc. |
| 14 | Exhibition installation | Assignment: Print material, brochures, photography, installation etc. |
| 15 | Exhibition installation | Assignment: Print material, brochures, photography, installation etc. |
| 16 | Exhibition |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Krauss, R. (1979) “Sculpture in the Expanded Field” October, Vol. 8 (Spring), pp. 30-44
Wiggins, B. E. (2024) “The Backrooms and liminal spaces: Explorations of a digital urban legend” New Media & Societ, 00(0), 1-19. |
| Semester Activities | Number | Weighting |
| Participation | 1 | 5 |
| Laboratory / Application | ||
| Field Work | 1 | 10 |
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 30 |
| Presentation / Jury | 1 | 15 |
| Project | 1 | 40 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 5 | 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 | 4 | 64 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 4 | |
| Study Hours Out of Class | 6 | 11 | 66 |
| Field Work | 1 | 10 | |
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 36 | |
| Presentation / Jury | 1 | 20 | |
| Project | 1 | 40 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 300 |
| # | 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. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 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. | X | ||||
| 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. | 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. | X | ||||
| 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. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
