| Course Name | Moving Images in a Digital Age |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 431 | 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 | DiscussionQ&ACritical feedback | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | - | |||||
| Assistant(s) | - | |||||
| Course Objectives | This course examines the changes that moving images undergo during the process of digitalization. It explores the impact of digitalization on the production of moving images and their consumption by audiences, while also analyzing the new sociocultural viewer identities that emerge as a result of digitalization. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course addresses the changes in the production and consumption of moving images during the process of digitalization. Throughout the course, it examines how fields such as American cinema, video art, independent cinema, contemporary art, documentary, computer games, and internet culture have been affected by digitalization and the various directions these effects have taken. By discussing the cultural impact of new types of moving images that have emerged as a result of digitalization, the course aims to foster a different perspective on today's media and visual culture. |
| Related Sustainable Development Goals |   |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction: Digital Age and Moving Images | |
| 2 | A Brief History of Moving Images and First Seeds of Transformation (From Lumiere Brothers and Méliès to Vertov’s Kino-eye and to Post-Internet Images) | Dziga Vertov – Kino-eye |
| 3 | Video Art and Pioneers of Digital Media and Contemporary Artists | Video: Martha Rosler – Semiotics of the Kitchen |
| 4 | Moving Images In New Media Art | Film: Total Refusal - Hardly Working |
| 5 | Thinking Outside the Box: Intersection of Art, Cinema and Video Games | Film: Grand Theft Hamlet |
| 6 | Virtual Reality and Cinema | Film: Cameron Kostopoulos – Body of Mine VR Instl: Marc Da Costa, Matthew Niederhauser – Tulpamancer Film: Celine Daemen – Songs for a Passerby |
| 7 | Streaming Era: Interactivity and Participation | Film: Bo Burnham – Inside |
| 8 | Multimedia of Horror: Found Footage, Desktop Films & Digital Horror | |
| 9 | Midterm | |
| 10 | Transmedia Storytelling I: Conceptual Framework from Late 1900s and 2000s | |
| 11 | Transmedia Storytelling II: Digital Influencers and Cinema | |
| 12 | Moving Images of Artificial Intelligence | Karen Palmer – Consensus Gentium – AI driven Smartphone app |
| 13 | Alternate Reality Games and Participatory Culture | |
| 14 | Final | |
| 15 | Evaluation | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Ulus Baker – Beyin Ekran Ferhat Özgür & Nagehan Ç. Bikiç – Belgesel/Kısa Film/Video Sanatı Mike Figgis – Dijital Film Yapmak Emre Ahmet Seçmen – Neo-Sinema Claire Bishop – Artificial Hells Eva Selin – Transmedya Kültürü Jacques Rancière – Özgürleşen Seyirci / Emancipated Spectator Theodor W. Adorno – The Culture Industry, Ch. 7 Transparencies on film pp.178-186 |
| 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 | 1 | 50 |
| 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 | |||
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 16 | |
| Final Exams | 1 | 28 | |
| 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. | X | ||||
| 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. | X | ||||
| 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
