| Course Name | TV Genres |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| MCS 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 investigates the form and content of contemporary television series in the global mediascape. Throughout the class, we will examine the aesthetic construction, audience appeal and socio-cultural functioning of various television genres. We will also closely examine the changing nature of television genres and their viewing in our age. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This course combines theoretical readings about the television genres and contemporary television with solid examples drawn from television series that circulate in the global mediascape. Discussion of readings and lecture will be accompanied by the screening of excerpts from several television series that will both exemplify and deepen the understanding of topics we will cover in this class. |
| Related Sustainable Development Goals | |
|
| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Genre Studies and New Golden Age Television Orange Is the New Black (2013–2019) | Jason Mittell. (2013). ‘Television Genres as Cultural Categories.’ In Genre and Television: From Cop Shows to Cartoons in American Culture, pp. 1-29. |
| 2 | Adaptations Across the Globe Shameless (2011– ) Bizim Hikaye (2017–2019) | Knox, S. (2018). Shameless, the push-pull of transatlantic fiction format adaptation, and star casting. New Review of Film and Television Studies, 16(3), 295-323. |
| 3 | Crime Dramas and Contemporary Masculinities Breaking Bad (2008–2013) | Brian Faucette (2014). ‘Re-emergence of Hegemonic Masculinity in Breaking Bad.’ In Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series, p. 73-86. |
| 4 | Costume Dramas and Popular History Muhtesem Yüzyıl (2011–2014) Rome (2005–2007) | Ragalie, M. (2007). Sex and Scandal with Sword and Sandals: A Study of the Female Characters in HBO's Rome. Studies in Mediterranean Antiquity and Classics, 1(1), 4. |
| 5 | Reality Shows in the Neoliberal World (Excerpts from various reality shows) | Ouellette, L., & Hay, J. (2008). Better Living Through Reality TV: Television and Post-welfare Citizenship, pp. 63-98. |
| 6 | “Chick Flick”, Feminism and Postfeminism on Television Mary Tyler Moore Show (1970–1977) Ally McBeal (1997–2002) Girls (2012–2017) | Seabrook, R. C., Ward, L. M., Cortina, L. M., Giaccardi, S., & Lippman, J. R. (2017). Girl power or powerless girl? Television, sexual scripts, and sexual agency in sexually active young women. Psychology of Women Quarterly, 41(2), 240-253 |
| 7 | Docudrama and Politics Chernobyl (2019) | Friedman, S. M. (2011). Three Mile Island, Chernobyl, and Fukushima: An analysis of traditional and new media coverage of nuclear accidents and radiation. Bulletin of the atomic scientists, 67(5), 55-65. |
| 8 | Melodramas as Instruments of Social Change Kismet: How Turkish Soap Operas Change the World (2014) | Andrew Skuse and Marie Gillespie. (2012). ‘Gossiping for Change.’ In Drama for Development: Cultural Translation and Social Change, pp. 273-294. |
| 9 | Soap Opera and Imagining the Nation Hatırla Sevgili (2006–2008) | Ives, S. (2007). Mediating the neoliberal nation: Television in post-apartheid South Africa. An International E-Journal for Critical Geographies, 6(1), 153-173. |
| 10 | Complex Melodrama House of Cards (2013–2018) | Linda Williams (2012). Mega-Melodrama! Vertical and Horizontal Suspensions of the “Classical.” Modern Drama, 55(4), pp. 523-543. |
| 11 | Cop Shows and Social Realism Babylon Berlin (2017– ) The Wire (2002–2008) | Parker, S. (2014). “Hidden in plain sight”: Baltimore, The Wire and the politics of under-development in urban America. In Popular Representations of Development, pp. 108-126. |
| 12 | Science Fiction and Social Criticism Doctor Who (2005– ) Star Trek (1966–1969) | Franklin, H. B. (1994). Star Trek in the Vietnam era. Film & History: An Interdisciplinary Journal of Film and Television Studies, 24(1), 36-46. |
| 13 | Teen Drama and Vampire Symbolism Buffy the Vampire Slayer (1997–2003) The Vampire Diaries (2009–2017) | Early, F. H. (2001). Staking her claim: Buffy the Vampire Slayer as transgressive woman warrior. The Journal of Popular Culture, 35(3), 11-27. |
| 14 | Televisual Art and Philosophizing Through Contemporary TV Series Six Feet Under (2001–2005) | Schiappa, E., Gregg, P. B., & Hewes, D. E. (2004). Can a television series change attitudes about death? A study of college students and Six Feet Under. Death Studies, 28(5), 459-474. |
| 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 | ||
| Portfolio | ||
| Homework / Assignments | 3 | 30 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | 1 | 50 |
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 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 | |||
| Portfolio | |||
| Homework / Assignments | 3 | 2 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | 1 | 26 | |
| Total | 112 |
| # | 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. | |||||
| 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. | X | ||||
| 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
