Course Name | Contemporary World Cinema |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
GEAR 307 | 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 introduce students to contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context. |
Learning Outcomes | The students who succeeded in this course;
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Course Description | This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text. This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text. |
Related Sustainable Development Goals |
| Core Courses | |
Major Area Courses | ||
Supportive Courses | ||
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
1 | Introduction | |
2 | Middle Eastern Cinema: Iran Ten, Abbas Kiarostami, 2002 (94 min) | Moore, L. C. (2005) “Women in a Widening Frame: (Cross-) Cultural Projection, Spectatorship and Iranian Cinema” Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33. |
3 | Eastern European Cinema: Romania Occident, Cristian Mungiu, 2002 (102 min) | Adriana Cordali Gradea (2018) “The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident” Journal of European Studies. Volume 48, issue 3-4, page(s): 250-264. Marian Țuțui and Raluca Iacob, “New Romanian Cinema: Geography and Identity” in Edited by Christina Stojanov The New Romanian Cinema. Edinburg University Press. 2021. |
4 | Western European Cinema I Caché, Michael Haneke (2005) | Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296. |
5 | Western European Cinema II Head-On, Fatih Akın (2004) | Berna Güneli “Chapter Two: Language Use and Dialogue: Multilingualism in Akın’s Head-On” in Güneli (2011) Challenging European Borders: Fatih Akın’s Filmic Visions of Europe, PhD dissertation, The University of Texas at Austin, pp. 96-126. |
6 | Subcontinent Cinema: India Slumdog Millionaire (2008) Danny Boyle | Ana Cristina Mendes (2010) “Showcasing India Unshining: Film Tourism in Danny Boyle’s Slumdog Millionaire” Third Text, 24:4, 471-479. |
7 | The Global South: Burkina Faso Under the Moonlight (2004) Appoline Traoré | Lizelle Bisschoff (2010) “Visions of female emancipation: three recent films from West Africa” Journal of African Cinemas, Vol. 2:1, 37-48. |
8 | Midterm Exam | |
9 | Cinema in Australia and New Zealand The Piano (1993) Jane Campion | Barbara Klinger (2006) “The art film, affect and the female viewer: The Piano revisited” Screen, Volume 47, Issue 1, Spring 2006, Pages 19–41. |
10 | Korean New Wave Parasite (2017) Bong Joon-Ho | Schulze, Jonathan (2019) “The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho” Journal of Popular Film and Television, 47:1, 21-29, pp. 21-29. |
11 | Japanese Cinema Shoplifters (2018) Hirokazu Kore-eda | Erlich, Linda C., (2011). “Kore-eda’s Ocean View” Film Criticism, Vol. 35, No. 2/3, pp.127–146. |
12 | Latin America: Mexico Roma (2018) Alfonso Cuarón | Sergio de la Mora (2019) “Roma: Reparation versus Exploitation” Film Quarterly 72 (4): 46–53. |
13 | Latin America: Brazil Aquarius (2016) Kleber Mendonça Filho | Stephanie Dennison (2018) “Intimacy and cordiality in Kleber Mendonça Filho’s Aquarius” Journal of Iberian and Latin American Studies. 24:3, 329-340. |
14 | Course Review | |
15 | Course Review | |
16 | Final Exam |
Course Notes/Textbooks | |
Suggested Readings/Materials |
Semester Activities | Number | Weigthing |
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 | 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 | 14 | 2 | 28 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | |||
Presentation / Jury | |||
Project | |||
Seminar / Workshop | |||
Oral Exam | |||
Midterms | 1 | 18 | |
Final Exams | 1 | 26 | |
Total | 120 |
# | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
1 | Successfully applies theoretical and practical knowledge and skills in Gastronomy and Culinary Arts | |||||
2 | Carries best practices in terms of work and food security, safety and hygiene in food production | |||||
3 | Appreciates, evaluates and makes decisions regarding to visual, textual and nutritional data with respect to food production and presentation | |||||
4 | Recognizes and evaluates the impact of gastronomy on culture and society | |||||
5 | Assumes responsibility for solving complex problems that may occur in the field of Gastronomy and Culinary Arts, both individually and as a team member | |||||
6 | Evaluates the knowledge and skills acquired in the field of Gastronomy and Culinary Arts with a critical approach and effectively communicate their ideas and suggestions for solutions in written and oral form. | |||||
7 | Possesses necessary knowledge and skills in relevant fields such as gastronomy, design, law and management and effectively apply them to the practice of Culinary Arts | |||||
8 | Uses the technological tools related to Gastronomy and Culinary Arts effectively | |||||
9 | Updates and improve the knowledge, skills and competencies related to Gastronomy and Culinary Arts with lifelong learning awareness and sustainability with an ethical approach | |||||
10 | Collects data in the areas of Gastronomy and Culinary Arts and communicate with colleagues in a foreign language. (European Language Portfolio Global Scale”, Level B1) | |||||
11 | Speaks a second foreign at a medium level of fluency efficiently | |||||
12 | Relates the knowledge gained through the history of humanity to the field of expertise |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest