| Course Name | Animals and Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 341 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | Discussion Q&A Lecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course explores the relationship between animals, humans, and cinema and the intersections these relations complicate. Key questions include: what are the cinematic narratives that revolve around the human understanding of the non-human animal? how are societal norms around animal intelligence and sentience reinforced or challenged in cinema? can humans ever depict animals on screen in non-anthropocentric terms? |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This course investigates cinema’s portrayal of animals across a diverse number of theoretical and historical registers. We will discuss the specific ways in which humans see animals focusing on a series of films. |
| Related Sustainable Development Goals |    |
|
| 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 | |
| 2 | What is an Animal? Why Look at Animals? John Berger – Why Look at Animals? / Giorgio Agamben - The Open: Man and Animal | |
| 3 | Animal Labour in Arts and Cinema. Robert Bresson – Au Hasard Balthazar | |
| 4 | Mythology and Animals: Beasts, Abominations, Hybrids and Monsters. Colin Trevorrow - Jurassic World / Richard Kearney – Strangers, Gods and Monsters | |
| 5 | Antropomorphism and Cinema: The Animal That Man Sees. Martin Rosen - Watership Down | |
| 6 | Oedipalized Animals. Deleuze & Guattari – Capitalism and Schizophrenia / ALF: TV Series | |
| 7 | When Animals Rise Up: Insect Invasions, Viruses, Rebelling Apes. Alfred Hitchcock – Birds / Franklin J. Schaffner – Planet of the Apes, / The Last of Us | |
| 8 | Companion Species and Cinema. Donna Haraway – A Cyborg Manifesto / Charles Foster – Being A Beast | |
| 9 | Midterm | |
| 10 | Posthumanism, Animals and Cinema. Derek Ryan – Animal Theory / Janis Rafailidou – Kala Azar | |
| 11 | Becoming-animal and Abject Theory. Mike Nichols – Wolf / David Cronenberg – The Fly / Carolee Schneemann – Meat Joy | |
| 12 | Eco-cinema and Animal Activism. James Reed- My Octopus Teacher / Shaun Monson - Earthlings | |
| 13 | Evaluation | |
| 14 | Final | |
| 15 | Course Review | |
| 16 | Course Review |
| Course Notes/Textbooks | . |
| Suggested Readings/Materials | Derek Ryan – Animal Theory: A Critical Introduction |
| Semester Activities | Number | Weighting |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 50 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 2 | 50 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 50 |
| 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 | 2 | 28 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 16 | |
| Presentation / Jury | |||
| Project | 1 | 6 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 22 | |
| 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. | |||||
| 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
