| Course Name | Moving Images in a Digital Age |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 470 | 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 | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This class will examine the changes that occurred in the production and consumption of moving images in the process of digitization. In different weeks, we will focus on various forms of moving images, including Hollywood blockbusters, independent cinema, video installations, and documentaries with an objective to understand how digitization impacts them. We will analyze the cultural effects of novel forms of media, such as popular YouTube videos, which emerged as a result of digitization. We will also assess how digitization transforms audience engagement with moving images. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course analyzes the transformation of moving images through the process of digitization. We will examine how digitization impacts the production and audience use of motion pictures, as well as focusing on the construction of new socio-cultural identities in the global mediascape through digital moving images. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | The Digital Cinema: Form and Content | Grainge, P. (2018). Colouring the past: Pleasantville and the textuality of media memory. In Memory and popular film. Manchester University Press. |
| 2 | Postmodern Film | Setka, S. (2015). Bastardized History: How Inglourious Basterds Breaks through American Screen Memory. Film & New Media, 3(1), 141-169. |
| 3 | Hyperlink Realism | Krems, J. A., & Dunbar, R. I. (2013). Clique size and network characteristics in hyperlink cinema. Human Nature, 24(4), 414-429. |
| 4 | Digitization and Futurism | Virginás, A. (2017). Gendered transmediation of the digital from S1m0ne to Ex Machina:‘visual pleasure’reloaded?. European Journal of English Studies, 21(3), 288-303. |
| 5 | Digital Documentaries and Digital Affects | Gobel, A. (2019). Towards Affective Listening: Hearing Corporeal Memories in Cameraperson and Stories We Tell. The Ohio State University). |
| 6 | Intercultural Dialogues in Global Film | Haidar, C. (2011). An Investigation into the Meaning of Locally Produced Entertainment Media to Lebanese Women. |
| 7 | Animation | Prasch, T. (2008). Persepolis (2007). Film & History: An Interdisciplinary Journal of Film and Television Studies, 38(2), 80-82. |
| 8 | Smartphone Feature Films | Eriksson, P. E., & Eriksson, Y. (2015). Syncretistic images: iPhone fiction filmmaking and its cognitive ramifications. Digital Creativity, 26(2), 138-153. |
| 9 | Genre and Gender in Digital Features | Taubin, A. (2019). The Highest Stakes. Film Comment, 55(4), 60-62. |
| 10 | Musicals and Digital Imageries | Sticchi, F. (2018). Inside the “Mind” of Llewyn Davis: Embodying a Melancholic Vision of the World. Quarterly Review of Film and Video, 35(2), 137-152. |
| 11 | Time in New Digital Cinema | Harte, T. (2005). A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal. Slavic Review, 64(1), 43-58. |
| 12 | Genre Hybridity in the Digital Age | Gulam, J. (2019). Breaking out and fighting back: Female resistance in the Trump-era horror film. In Make America Hate Again (pp. 57-66). Routledge. |
| 13 | Digital Art | Harvey-Davitt, J. (2016). Conflicted selves: the humanist cinema of Nuri Bilge Ceylan. New Review of Film and Television Studies, 14(2), 249-267. |
| 14 | Blockbusters in the Digital Age | Boulware, T. (2016). " Who Killed the World": Building a Feminist Utopia from the Ashes of Toxic Masculinity in Mad Max: Fury Road. Mise-en-scène| The Journal of Film & Visual Narration, 1(1). |
| 15 | Review of the semester | |
| 16 | Final Exam |
| Course Notes/Textbooks | The course uses the sources that are listed above in the weekly subjects and related preparations. |
| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 3 | 30 |
| Portfolio | ||
| Homework / Assignments | 1 | 50 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 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 | 16 | 2 | 32 |
| Field Work | |||
| Quizzes / Studio Critiques | 3 | 3 | |
| Portfolio | |||
| Homework / Assignments | 1 | 25 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 114 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to define and discuss the history, underlying concepts and theories of cinema and digital media. | X | ||||
| 2 | To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking. | X | ||||
| 3 | To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. | X | ||||
| 4 | To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing. | X | ||||
| 5 | To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work. | X | ||||
| 6 | To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images. | X | ||||
| 7 | To be able to perform specialized tasks for creating digital media narratives with interactive elements. | X | ||||
| 8 | To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view. | X | ||||
| 9 | To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner. | X | ||||
| 10 | To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment. | X | ||||
| 11 | To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to speak a second foreign language 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. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
