Course Name | Gender and Media |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
GEET 310 | Fall/Spring | 3 | 0 | 3 | 4 |
Prerequisites | None | |||||
Course Language | ||||||
Course Type | Second Foreign Language | |||||
Course Level | - | |||||
Mode of Delivery | - | |||||
Teaching Methods and Techniques of the Course | ||||||
Course Coordinator | ||||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | This course conceptualizes gender as a category of knowledge and aims to understand how gender is constructed by the media. We will consider gender as a constitutive element of identity and by analyzing its intersection with other categories such as race, class, nation and sexuality, we will grasp the importance of the representation of gender in media and its meaning for our lives. The course consists of lectures, screenings and discussions revolving around critical analysis of and engagement with contemporary examples of film, television, adverts and new media. |
Learning Outcomes | The students who succeeded in this course;
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Course Description | his course examines various images and representations of gender in media paying particular attention to contemporary discussions. Employing theories from cultural studies, media, film, reception and gender studies, it explores different processes and practices of gender, specifically in terms of media representations of femininity, masculinity and queerness. The media plays a major role in "constructing" gender, and “popular” views of what appropriate gendering is, in turn, shape how we communicate with each other. Participation (20%) – You should come to class prepared to ask questions and ready to make lively, insightful, substantive and respectful contributions to our discussion of the course materials. Written Assignment (20%): These assignments require the students to select a theme we have covered in the class and conduct a detailed analysis of how that example reflects the context in which it was produced/distributed/exhibited. |
Related Sustainable Development Goals |
| Core Courses | |
Major Area Courses | ||
Supportive Courses | ||
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
1 | Course Introduction: Why should and how do we study gender in the media | |
2 | Gender and Identity | Gauntlett, D. Media, Gender and Identity, London and New York: Routledge, 2002: 1-41. |
3 | Gender and Media Representation | Gallagher, M. “Media and the Representation of Gender”. The Routledge Companion to Media and Gender.2014: 23-31. Eds. C. Carter, L. Steiner and L. McLaughin. London and New York: Routledge, 2014. S. Hall, “The Work of Representation.” İçinde Representation: Cultural Representations and Signifying Practices. Ed. S. Hall. London, California, New Delhi: Sage Publications, 2003. |
4 | Femininity and spectacle | Butler, J. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, Theatre Journal , Vol. 40, No. 4 (December, 1988): 519-531. Stewart, M. L. “The politics and spectacle of fashion and femininity.” Journal of Women's History. 17(1), (2005): 192-200. |
5 | Representations of masculinity | Ta. L. M. “Hurt so good: Fight Club, masculine violence, and the crisis of capitalism.” The Journal of American Culture, 29(3), (2006): 265-277. Cohan S. and Hark, I. R. (Eds.) Screening the Male: Exploring Masculinities in Hollywood Cinema. London and New York: Routledge, 2002: 1-22. |
6 | Queer theory and queer in media | Gerhard. J. “Sex and the City: Carrie Bradshaw's queer postfeminism. Feminist Media Studies”. 5(1), (2005): 37-49. Avila-Saavedra, Guillermo. Nothing queer about queer television: televized construction of gay massculinities, Media Culture Society 2009, Vol. 31(1): 5–21. |
7 | Gender, race and media | Entman R. M. and Rojecki, A. The black image in the white mind: Media and race in America. Chicago, IL: University of Chicago Press, 2000: 205-226. |
8 | Gender, class and media | Tasker,Y. Working girls: Gender and sexuality in popular cinema. London & New York: Routledge, 2002: 1-18. |
9 | Gender and violence | Dowds, E. An international legal response to #MeToo, 4, 2018. https://theconversation.com/an-international-legal-response-to-metoo-rape-and-sexual-abuse-is-needed-95617. |
10 | Gender and representation of violence in media | Gender Violence and The Case of Fatal Attraction (Adrian Lyne, 1987) |
11 | Gender and media in Turkey | E. Cox, “#MeToo is not enough: it has yet to shift the power imbalances that would bring about gender equality”, Mart 18, 2018. https://theconversation.com/metoo-is-not-enough-it-has-yet-to-shift-the-power-imbalances-that-would-bring-about-gender-equality-92108 |
12 | Student presentations | |
13 | Student presentatios | |
14 | Evaluation of the term, discussion and preperation for the final exam | |
15 | Review of the term | |
16 | Review of the term |
Course Notes/Textbooks | D. Gauntlett, Media, Gender and Identity, London and New York: Routledge, 2002. |
Suggested Readings/Materials | The course uses the sources that are listed above |
Semester Activities | Number | Weigthing |
Participation | 1 | 10 |
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | 2 | 50 |
Project | ||
Seminar / Workshop | ||
Oral Exam | ||
Midterm | ||
Final Exam | 1 | 40 |
Total |
Weighting of Semester Activities on the Final Grade | 3 | 60 |
Weighting of End-of-Semester Activities on the Final Grade | 1 | 40 |
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 | 2 | 10 | |
Project | |||
Seminar / Workshop | |||
Oral Exam | |||
Midterms | |||
Final Exams | 1 | 24 | |
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