| Course Name | Hollywood Cinema |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| GEAR 306 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Service Course | |||||
| 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 enable students to develop a general knowledge of Hollywood's production/distribution/exhibition networks. It identifies main themes and styles throughout Hollywood's history and discusses its patterns of authorship, star system, technology and genres. The course contextualizes Hollywood as a global system not only as a business but also as a system of meanings. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This course examines Hollywood in its economic, cultural and historical context. It studies its industrial dynamics (studio system, star system, etc.) in parallel with its narrative tendencies and stylistic devices. Students are expected to attend the lectures, watch the films and actively participate with the class discussion following each screening. |
| Related Sustainable Development Goals |   |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Review of the Semester | |
| 2 | Review of the Semester | |
| 3 | Introduction - Hollywood and Social Change Modern Times (1936) Charlie Chaplim | Howe, Lawrence. "Charlie Chaplin in the age of Mechanical Reproduction: reflexive ambiguity in Modern Times." College Literature 40, no. 1 (2013): 45-65. |
| 4 | There is No Place Like Home The Wizard of Oz (1939) Victor Fleming | Pawlett W., Dhanda M., (2010) "The Shared Destiny of the Radically Other: A reading of The Wizard of Oz". Film-Philosophy, Paige, L.R. (1996) Wearing the Red Shoes: Dorothy and the Power of the Female Imagination in The Wizard of Oz, Journal of Popular Film and Television, 23:4, 146-153, |
| 5 | Doing the Thinking for U.S. Casablanca (1942) Michael Curtiz | Nachbar, Jack, (2000) "Doing the Thinking for All of Us: Casablanca and the Home Front", Journal of Popular Film and Television, 27:4, 5-15, |
| 6 | Modern Horror Pscycho (1960) Alfred Hitchcock | Clover, Carol J. “Her Body, Himself: Gender in the Slasher Film.” Representations, no. 20, 1987, pp. 187–228. JSTOR, https://doi.org/10.2307/2928507. |
| 7 | New Hollywood Bonnie and Clyde (1967) Arthur Penn | King, G. (2002). New Hollywood Cinema: An Introduction. Bloomsbury Publishing, pp. 1-39. Schatz, T. The New Hollywood (PDF handout). Tzioumakis, Y. (2006). The New Hollywood and the Independent Hollywood in American Independent Cinema: An Introduction (Rutgers, pp. 169-191. |
| 8 | Midterm Exam | |
| 9 | Misogyny and the Threat to Masculinity One Flew Over the Cuckoo’s Nest (1975) Milos Forman | Farber, S., Americana, Sweet and Sour, The Hudson Review, Vol. 29, No. 1 (Spring, 1976), pp. 95-102 |
| 10 | Independent Cinema Do The Right Thing (1989) Spike Lee | Lott, T. L., A No-Theory Theory of Contemporary Black Cinema. Black American Literature Forum, Vol. 25, No. 2, Black Film Issue (Summer, 1991), pp. 221-236. |
| 11 | The Myth of Boyhood Rushmore (1998) Wes Anderson | Olsen, Mark. “If I Can Dream: The Everlasting Boyhoods of Wes Anderson.” Film Comment, vol. 35, no. 1, 1999, pp. 12–17. |
| 12 | History and Politics in Horror Cinema Get Out (2017) Jordan Peele | Landsberg, Alison, (2018) Horror Vérité: Politics and History in Jordan Peele’s Get Out. Continuum, 32:5, pp. 629-642. |
| 13 | Modern Nomads Nomadland (2020) Chloé Zhao | Lindemann, Tim. “Travelling the Scenic Landscape: Community, Nationalism and Precarity in Nomadland.” Empedocles: European Journal for the Philosophy of Communication, Volume 13, Number 1, 1 June 2022, pp. 25-40. White, Patricia. “Women Auteurs, Western Promises” Film Quarterly (2022) 75 (4): pp. 23–33. |
| 14 | Course Review/Final Exam | |
| 15 | Course Review | |
| 16 | Course Review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Bordwell, David, and Kristin Thompson. Film History: An Introduction. New York: McGraw-Hill, 2008 |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 40 |
| Final Exam | 1 | 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 | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | 34 | ||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 30 | |
| Final Exams | 1 | 42 | |
| Total | 120 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able master and use fundamental phenomenological and applied physical laws and applications, | |||||
| 2 | To be able to identify the problems, analyze them and produce solutions based on scientific method, | |||||
| 3 | To be able to collect necessary knowledge, able to model and self-improve in almost any area where physics is applicable and able to criticize and reestablish his/her developed models and solutions, | |||||
| 4 | To be able to communicate his/her theoretical and technical knowledge both in detail to the experts and in a simple and understandable manner to the non-experts comfortably, | |||||
| 5 | To be familiar with software used in area of physics extensively and able to actively use at least one of the advanced level programs in European Computer Usage License, | |||||
| 6 | To be able to develop and apply projects in accordance with sensitivities of society and behave according to societies, scientific and ethical values in every stage of the project that he/she is part in, | |||||
| 7 | To be able to evaluate every all stages effectively bestowed with universal knowledge and consciousness and has the necessary consciousness in the subject of quality governance, | |||||
| 8 | To be able to master abstract ideas, to be able to connect with concreate events and carry out solutions, devising experiments and collecting data, to be able to analyze and comment the results, | |||||
| 9 | To be able to refresh his/her gained knowledge and capabilities lifelong, have the consciousness to learn in his/her whole life, | |||||
| 10 | To be able to conduct a study both solo and in a group, to be effective actively in every all stages of independent study, join in decision making stage, able to plan and conduct using time effectively. | |||||
| 11 | To be able to collect data in the areas of Physics and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to speak a second foreign at a medium level of fluency efficiently | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
