| Course Name | Psychoanalysis and Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 432 | 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&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to the use of psychoanalysis as a method of film analysis in film studies. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This course combines theoretical work and film analysis Theories of psychoanalysis will be applied to the analysis of films, to discuss questions of representation in relation to issues of gender. |
| Related Sustainable Development Goals |  |
|
| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | What is Psychoanalysis? | Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47. ISBN-10 : 0860911489 Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. ISBN-10 : 8787564092 |
| 3 | Introduction to Freud | Sigmund Freud, Totem and Taboo. London: Routledge, 1950. 1-86. ISBN-10 : 9780393001433 |
| 4 | Alter-Ego Screening: Lost Highway (David Lynch, 1997) | Sigmund Freud, The Interpretation of Dreams. New York, NY: Basic Books. 2005. 248-295.ISBN-10 : 0465019773 |
| 5 | Introduction to Lacan | Jacques Lacan, Book XI: Four Fundamental Concepts of Psychoanalysis. New York, NY: W.W. Norton&Company, 1998. 1-60. ISBN-10 : 0393317757 |
| 6 | Mirror Stage Screening: Under the Skin (Jonathan Glazer, 2013) | Jacques Lacan, Ecrits. New York, NY: W.W. Norton&Company, 2006. 75-82. ISBN-10 : 0393329259 |
| 7 | Feminist Psychoanalysis and Film Theory First response paper deadline | Laura Mulvey, “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. ISBN-10 : 0199376891 Joan Copjec, “The Orthopsychic Subject: Film Theory and the Reception of Lacan.” October, vol. 49 (1989): 53-71. |
| 8 | The Good and The Bad Mother / Mourning Screening: Babadook (Jennifer Kent, 2014) | Melanie Klein, “Early Stages of Oedipus Conflict.” International Journal of Psychoanalysis, vol. 9 (1928): 169-80. |
| 9 | Abject and Hysteria Screening: Possession (Andrzej Zulawski, 1981) | Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 1-31. ISBN-10 : 0231053479 |
| 10 | Paternity-Maternity Screening: The Brood (David Cronenberg, 1979) Second response paper deadline | Barbara Creed, Monstrous Feminine. London: Routledge, 1994. 43-58 ISBN-10 : 0415052599 |
| 11 | Eros/Thanatos and Gaze Screening: Amer (Helene Cattet, Bruno Forzani, 2009) | Sigmund Freud,Beyond the Pleasure Principle. London: Hogart Press, 1920-1922. ISBN-10 : 0393007693 |
| 12 | Uncanny and the Real Screening: Hole in the Ground (Lee Cronin, 2019) Third response paper deadline | Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 32-55. ISBN-10 : 0415052599 |
| 13 | Sexuation and Other Jouissance Screening: The Love Witch (Anna Biller, 2017) | Jacques Lacan, Book XX: On Feminine Sexuality the Limits of Love and Knowledge. New York, NY: W.W. Norton&Company, 1998. ISBN-10 : 0393319164 |
| 14 | Screening: Swallow (Carlo Mirabella-Davis, 2019) Fourth response paper deadline | Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47. ISBN-10 : 0860911489 Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. ISBN-10 : 8787564092 |
| 15 | Semester Review | |
| 16 | Semester Review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. ISBN-10 : 0860911489 Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. ISBN-10 : 8787564092 Sigmund Freud, Totem and Taboo. London: Routledge, 1950. ISBN-10 : 9780393001433 Sigmund Freud, The Interpretation of Dreams. New York, NY: Basic Books. 2005. ISBN-10 : 0465019773 Sigmund Freud, Beyond the Pleasure Principle. London: Hogart Press, 1920-1922. ISBN-10 : 0393007693 Jacques Lacan, Book XI: Four Fundamental Concepts of Psychoanalysis. New York, NY: W.W. Norton&Company, 1998. ISBN-10 : 0393317757 Jacques Lacan, Ecrits. New York, NY: W.W. Norton&Company, 2006. ISBN-10 : 0393329259 Jacques Lacan, Book XX: On Feminine Sexuality the Limits of Love and Knowledge. New York, NY: W.W. Norton&Company, 1998. ISBN-10 : 0393319164 Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. ISBN-10 : 0231053479 Barbara Creed, Monstrous Feminine. London: Routledge, 1994. ISBN-10 : 0415052599 |
| Semester Activities | Number | Weighting |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 80 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 2 | 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 | 12 | 1 | 12 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 4 | 15 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| 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. | 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. | |||||
| 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. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
