CDM 212 | Course Introduction and Application Information

Course Name
Film Seminar: A Cinema in the Shade II
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 212
Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Required
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce students to films that have an important place in film history and yet have low visibility in the framework of commercial cinema, and to enable the students to acquire film culture.
Learning Outcomes The students who succeeded in this course;
  • describe the significant works of cinema in general
  • discuss the films they will see
  • classify films in cinema history
  • compare films in their relation to the structure of the cinematic institution that produced them
  • analyze these works in the context of their socio-cultural milieu
  • contrast cinematic traditions in terms of narrative, technique, authorial styles
Course Content This is the second of a series of courses, introducing and screening films crucial to forming film culture and not readily available elsewhere. The course includes canonic, experimental, avant-garde (commercial or non-commercial) examples of early cinema, American studio films, European art films, world cinema. There are four assignments (film response papers/essays) students have to submit during the semester.

 



Course Category

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
2 European Art Cinema Screening Blow up, Michelangelo Antonioni (1966) (111 min) Marsha Kinder “Antonioni in Transit” Sight and Sound; Summer 1967; 36/3; pp. 132-137. Carey Harrison “Two Films (2): Blow-Up” Sight and Sound; Spring 1967; 36/2; pp. 60-62.
3 Road Movies Screening Wim Wenders - Alice in the Cities (1974) (110 min) John Pym “The Road from Wuppertal” Sight and Sound; Fall 1984; 53, 4; pg. 244.
4 Essay Film Screening Sans Soleil, Chris Marker (1983) (103 min) Terence Rafferty “Marker Changes Trains” Sight and Sound; Fall 1984; 53/4; pp. 284-288.
5 Unhollywood - American Independent Cinema Screening Jim Jarmusch - Stranger than Paradise (1984) (89 min) Richard Linnett “As American as You Are: Jim Jarmusch and Stranger than Paradise” Cinéaste, Vol. 14, No. 1 (1985), pp. 26-28.
6 Queer Cinema Screening Orlando, Sally Potter (1992) (94 min) Suzanne Ferriss and Kathleen Waites “Unclothing Gender: The Postmodern Sensibility in Sally Potter's ‘Orlando’” Literature/Film Quarterly, Vol. 27, No. 2 (1999), pp. 110-115. 1st FILM RESPONSE DUE
7 French New New Wave / Cinéma du Look Screening Diva, Jean-Jacques Beineix (1981) (123 min) Martyn Auty “Diva” Sight and Sound; Fall 1982; 51/4; p. 298. David Russell “Two or Three Things We Know About Beineix” Sight and Sound; Winter 1989; 59/1; pp. 42-47.
8 LA Noir Screening Blue Velvet, David Lynch (1986) (120 min) David Chute “Out to Lynch” Film Comment, Vol. 22, No. 5 (September-October 1986), pp. 32-35. 2ND FILM RESPONSE DUE
9 New Iranian Cinema Screening Close-up, Abbas Kiarostami (1990) (98 min) Hamid Naficy “Iranian Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 672-678. Farah Nayeri, “Iranian Cinema: What happened in between” Sight and Sound; Dec 1, 1993; 3/12; pp. 26-28.
10 New Asian Cinema Screening Chunking Express, Wong Kar Wai (1994) (102 min) Tony Rayns “Poet of Time” Sight and Sound; Sep 1, 1995; 5/9; pp. 12-16. Tony Rayns “Chungking Express / Chongqing Senlin” Sight and Sound; Sep 1, 1995; 5/9; pp. 47-48. 3RD FILM RESPONSE DUE
11 Women’s Cinema Screening Thelma and Louise, Ridley Scott (1991) (130 min) Manohla Dargis “Roads to freedom” Sight and Sound; Jul 1, 1991; 1/3; pp. 14
12 Northern European Farce Screening Drifting Clouds, Aki Kaurismaki (1996) (96 min) Jonathan Romney “Last Exit to Helsinki: The Bleak Comedic Genius of Aki Kaurismaki, Finland’s finest” Film Comment, Vol. 39, No. 2 (MARCH/APRIL 2003), pp. 43-45, 47. 4TH FILM RESPONSE DUE
13 Migrant and Diasporic Cinema Screening Head-On, Fatih Akın (2004) (123 min) Daniela Berghahn “No place like home? Or impossible homecomings in the films of Fatih Akin” New Cinemas: Journal of Contemporary Film, Volume 4 Number 3, 2006, pp. 141-157.
14 Overview
15 Review of the semester
16 Review of the semester

 

Course Textbooks

 

 

References

Geoffrey Nowell-Smith. The Oxford History of World Cinema. Oxford University Press, 1999.

Kristin Thompson & David Bordwell. Film History: An Introduction. New York: McGraw-Hill, 2009.

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
4
80
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Contribution of Semester Work to Final Grade
5
100
Contribution of Final Work to Final Grade
Total

ECTS / WORKLOAD TABLE

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
Field Work
Quizzes / Studio Critiques
Homework / Assignments
4
10
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
120

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Qualifications / Outcomes
* Level of Contribution
1
2
3
4
5
1 To develop the habit of critical thinking in areas of cinema and digital media. X
2 To be able to comprehend and discuss theories, concepts and ideas that form the basis of cinema and digital media. X
3 To know and understand practices in areas of cinema and digital media as creative and/or business processes. To be able to see these processes from cultural and historical perspectives. X
4 To cultivate awareness in the inter- and multi-disciplinary nature of cinema and digital media, thus developing a dynamic and flexible professional character capable of operating and communicating across a wide range of subject areas. X
5 To develop an understanding of the unity of theory of practice and practice of theory. X
6 To observe norms of work ethic and a thoroughgoing professional ethic.
7 Endowed with the virtues and skills of being self-disciplined, self-critical and self-managerial, to be able to both work independently and as member of a team. X
8 To have the fundamental knowledge and ability to use the technical equipment and software programmes in the areas of cinema and digital media and to possess advanced level computing and IT skills. (“European Computer Driving Licence”, Advanced Level)
9 To be able to follow developments in new technologies of cinema and digital media, as well as new methods of production, new media industries, and new theories; and to be able to communicate with international colleagues in a foreign language (“European Language Portfolio Global Scale”, Level B1). X
10 To be able to use a second foreign language at the intermediate level.
11 To be able to use and develop the acquired knowledge and skills in a lifelong process aimed at the achievement personal and social goals X

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest