| Course Name | Film History and Aesthetics |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| MCS 446 | Fall/Spring | 3 | 0 | 3 | 6 |
| 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 | The objective of this course is to trace the major developments in world cinema from the beginnings of feature length films to the 1990s. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | The course is structured chronologically and focuses on moments in the cinema’s development that are particularly relevant from a historical perspective, be it aesthetic, political, technological, cultural, or economic. ACADEMIC CAUTION Academic honesty: Plagiarism, copying, cheating, purchasing essays/projects, presenting some one else’s work as your own and all sorts of literary theft is considered academic dishonesty. Under the rubric of İzmir University of Economics Faculty of Communication, all forms of academic dishonesty are considered as crime and end in disciplinary interrogation. According to YÖK’s Student Discipline Regulation, the consequence of cheating or attempting to cheat is 6 to 12 months expulsion. Having been done intentionally or accidentally does not change the punitive consequences of academic dishonesty. Academic honesty is each student’s own responsibility. Plagiarism is the most common form of academic dishonesty. According to the MerriamWebster Online Dictionary, to plagiarize means to steal and pass off (the ideas or words of another) as one’s own. The easiest and most effective way to prevent plagiarism is to give reference when using someone else’s ideas, and to use quotation marks when using someone else’s exact words. A detailed informative guideline regarding plagiarism can be found here. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Hand out syllabus and discuss the nature of the course as well as the syllabus itself; take attendance; assign reading. | |
| 2 | Introduction: Film art and film history. | The Cinema Book The Passion of Joan of Arc, Carl Dreyer |
| 3 | Types of filmmaking, types of films. | |
| 4 | Introduction to elements of film. | As film Studies: The Essential Introduction |
| 5 | Pioneer cinema | The Cinema Effect |
| 6 | Narration and narrative form | The cinema book |
| 7 | Mise-en-scene | Mise-en-scene |
| 8 | Cinematography | cinematography |
| 9 | Lighting and editing | |
| 10 | Genre | The cinema book |
| 11 | Film style | |
| 12 | European cinema | Cinema & Nation |
| 13 | Sound in cinema | Cook, pp. 777 / 782 |
| 14 | Time and space in cinema | |
| 15 | Experimental and animated films | Articles will be assigned |
| 16 | Review |
| Course Notes/Textbooks | The Cinema Book, edited by Pam Cook, 1985 The Cinema Effect, Sean Cubitt, The MIT Press, 2004 AS film Studies: The Essential Introduction Sarah Casey Benyahia, Freddie Gaffney and John Whit, Routledge, 2006 Cinematography, Kris Malkiewicz, Prentice Hall Press, 1973 Mise-en-Scene,Film Style and Interpretation, John Gibbs, Short Cut Series, Wallflower, 2002 Various articles on the film art and history will also be assigned. This course combines film viewing with discussion; therefore, please come prepared to think and respond. Attendance is mandatory, and lateness will be penalized (e.g., if you come 1 hour late for a class, you will be considered absent for the whole 3 hours we meet), as will be your not returning to class after a break. Anyone missing over 30% of the classes (4 classes), for any reason will automatically fail the course. TERM PAPER: Papers are to be typed, carefully proofread, and turned in on time; no late papers will be accepted. Percentage of your final grade=45%. Length: 35-40 doublespaced pages. Due in a week after the classes end. The topic of the paper will be assigned in the 9th week of the term. |
| Suggested Readings/Materials | Raul Ruiz, Poetics of Cinema, éditions dis voir, 1995 Cahiers du Cinéma, the 1950s. Neorealism, Hollywood, New Wave, Harvard University Press, 1985, edited by Jim Hillier Garret Stewart, Framed Time, University of Chicago Press , 2007 Movies and methods: an anthology edited by Bill Nichols University of California Press, 1997 Cinema and Nation, Mette Hjort and Scott MacKenzie, New York : Routledge , 2000 |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 35 |
| Presentation / Jury | ||
| Project | 1 | 45 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 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 | |||
| Portfolio | |||
| Homework / Assignments | 1 | 26 | |
| Presentation / Jury | |||
| Project | 1 | 46 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 120 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to critically discuss and interpret the theories, concepts and ideas that form the basis of the discipline of new media and communication. | X | ||||
| 2 | To be able to critically interpret theoretical debates concerning the relations between the forms, agents, and factors that play a role in the field of new media and communication. | X | ||||
| 3 | To have the fundamental knowledge and ability to use the technical equipment and software programs required by the new media production processes. | X | ||||
| 4 | To be able to gather, scrutinize and scientifically investigate data in the processes of production and distribution. | X | ||||
| 5 | To be able to use the acquired theoretical knowledge in practice. | X | ||||
| 6 | To be able to take responsibility both individually and as a member of a group to develop solutions to problems encountered in the field of new media and communication. | |||||
| 7 | To be informed about national, regional, and global issues and problems; to be able to generate problem-solving methods depending on the quality of evidence and research, and to acquire the ability to report the conclusions of those methods to the public. | |||||
| 8 | To be able to critically discuss and draw on theories, concepts and ideas that form the basis of other disciplines complementing the field of new media and communication studies. | X | ||||
| 9 | To be able to develop and use knowledge and skills towards personal and social goals in a lifelong process. | X | ||||
| 10 | To be able to apply social, scientific and professional ethical values in the field of new media and communication. | X | ||||
| 11 | To be able to collect datain the areas of new media and communication and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | |||||
| 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. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
