FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 102 | Course Introduction and Application Information
| Course Name |
Images, Sounds, Cultures II
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 102
|
Fall/Spring
|
2
|
2
|
3
|
6
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | face to face | |||||
| Teaching Methods and Techniques of the Course | DiscussionQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course complements CDM 101 by exploring the postmodern world of images. It aims to change the way students look at the visual world that surrounds them. It will help students to develop an understanding of the ways in which meaning is produced in visual culture. The course will center on the following questions: How do we make meaning of the audio-visual world? In what ways do economics, politics, culture affect visual representation? How do the ways in which visual culture is produced, consumed, distributed, and interpreted, play into the images we encounter every day? What is the relationship between images and power? |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | The course reviews images ranging from newspapers to the Web, advertisements to the movies, from television to fine arts and discusses cultural products in their economic, social and political contexts. Evaluation will be based on one assignment, two midterm exams and a visual project. |
|
|
Core Courses |
X
|
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction: Basic concepts and requirements | |
| 2 | Postmodernism | Marita Sturken& Lisa Cartwright "Chapter 8: Postmodernism: Irony, Parody, Pastiche" in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018 (Third Edition), pp. 301-336. |
| 3 | Globalization | Sturken& Cartwright, "Chapter 10: The global flow of visual culture", in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018. |
| 4 | Platforms and Algorithms | McDonald, Kevin, Smith-Rowsey, Daniel. The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury, 2016 (excerpts) |
| 5 | Gig Economy | Jamie Woodcock, Mark Graham, The Gig Economy: A Critical Introduction, Polity, 2020 (excerpts). |
| 6 | Artificial Intelligence | Illah Reza Nourbakhsh and Jennifer Keating, AI and Humanity. MIT Press, 2020 (excerpts) |
| 7 | Project Presentations | |
| 8 | Project Presentations | |
| 9 | Post-cinema | Shaviro, Steven. “Post-continuity: An Introduction,” in Post-Cinema: Theorizing 21st-Century Film. Eds. Shane Denson and Julia Leyda, 2016. (http://reframe.sussex.ac.uk/post-cinema/1-2-shaviro/) |
| 10 | TV and Serial Form | Dennis Broe, “Serial TV and Narratology” in Birth of the Binge: Serial TV and the End of Leisure, Wayne State UP, 2019. |
| 11 | Intermediality | Pethő, Ágnes. “Approaches to Studying Intermediality in Contemporary Cinema,” Acta Universitatis Sapientiae, Film and Media Studies 15:1, 2018, pp. 165-87. |
| 12 | Interactive Narrative | Ryan, Marie-Laure. “Interactive Narrative,” in The Johns Hopkins guide to digital media, eds. Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson, Johns Hopkins University Press, 2014. |
| 13 | Transmedia storytelling | Klaebe & Hancox, “Transmedia Storytelling,” In Moy, P (Ed.) Communication [Oxford Bibliographies]. Oxford University Press, 2017. Mittell, “Transmedia Television,” in Complex TV: The Poetics of Contemporary Television Storytelling, 2015. (http://mcpress.media-commons.org/complextelevision/transmedia-storytelling/) |
| 14 | Virtual Reality | Hillis, Ken. “Virtual Reality,” in The Johns Hopkins guide to digital media, eds. Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson, Johns Hopkins University Press, 2014. |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks |
Marita Sturken& Lisa Cartwright. Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018 (Third Edition) |
| Suggested Readings/Materials | Marita Sturken & Lisa Cartwright. 2009. Practices of looking: an introduction to visual culture. New York: Oxford University Press. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
20
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
20
|
| Presentation / Jury | ||
| Project |
1
|
20
|
| Seminar / Workshop | ||
| Oral Exams | ||
| 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 |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
4
|
64
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
14
|
3
|
42
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
1
|
23
|
23
|
| Presentation / Jury |
0
|
||
| Project |
1
|
23
|
23
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
1
|
28
|
28
|
| Total |
180
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
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| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
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| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
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| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
|||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
|||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
|||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
|||||
| 12 | To be able to use a second foreign language at the medium level. |
|||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
NEWS |ALL NEWS
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Artist, director, activist and academician Zeyno Pekünlü was the guest of CDM232: Digital Film Studio II.
CDM senior year student Ecem has been selected to the Animation category at Adana Altın Koza Film Festival
CDM 4th-grade student Ecem Çörtle has been selected as a finalist in the National Student Films category of the 30th International Adana
CDM graduate Eylül Berivan Kızılırmak has been accepted to the Cologne Academy of Media Arts
CDM graduate Eylül Berivan Kızılırmak has been accepted to the master's program at the Academy of Media Arts Cologne (Kunsthochschule für Medien Köln).
Traditionalistic CDM End of Year Exhibition EPI.LOG took place in FC Studios
Cinema and Digital Media End of Year Exhibition EPI.LOG 2023, organized as part of IUE Faculty of Communication Exhibition "FC-EX 2023", was
IUE Faculty of Communication Advisory Board members visited our Faculty and Studios on June 22, 2023
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Ataberk awarded at the İFSAK 43rd National Short Film and Documentary Competition
Our third-year student, Ataberk Eyolcu, returned from the 43rd National Short Film and Documentary Competition of İFSAK (Istanbul Photography and Cinema Amateurs
Our third-year CDM student Fikret Başar Kaya was at the 42nd Istanbul Film Festival
Our third year CDM student Fikret Başar Kaya participated as a Young Jury at the 42nd Istanbul Film Festival held on April
CDM hosted Dina Iordanova
Prof. Dina Iordanova gave a speech titled Olympics of Film: Dynamics of international film competitions on Thursday, January 5, 2023, in D002 at Izmir