FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 212 | Course Introduction and Application Information
Course Name |
Film Semineri II: Modern Sinema
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
CDM 212
|
Spring
|
3
|
0
|
3
|
4
|
Prerequisites |
None
|
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Course Language |
English
|
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Course Type |
Required
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Course Level |
First Cycle
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Mode of Delivery | face to face | |||||
Teaching Methods and Techniques of the Course | DiscussionProblem SolvingQ&ALecture / Presentation | |||||
Course Coordinator | - | |||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | This course will cover national cinemas, film movements, filmmakers and rising transnationalism of the world film industry from 1960 to present. |
Learning Outcomes |
The students who succeeded in this course;
|
Course Description | This is the second of a series of courses, introducing and screening films crucial to forming film culture. Each week we will analyse a film and set of film movements by paying close attention to a specific cultural context and the complex ways local, national and regional experiences. |
|
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 – The Concept of National Transnational and Supranational Cinema | Higson, A. (1989). The concept of national cinema. Screen, 30(4), 36-47. Bergfelder, T. (2005). National, transnational or supranational cinema? Rethinking European film studies. Media, culture & society, 27(3), 315-331. |
2 | British New Wave and Free Cinema Screening Lindsay Anderson - If (1968) (111 min) | Sarah Street “From Ealing Comedy to the British New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 176-193. Robinson, David “Anderson shooting IF...” Sight and Sound; Summer 1968; 37, 3; pg. 130. |
3 | New German Cinema Screening Wim Wenders - Alice in the Cities (1974) (110 min) | Thomas Elsaesser “The New German Cinema” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.194-213. John Pym “The Road from Wuppertal” Sight and Sound; Fall 1984; 53, 4; pg. 244. |
4 | Essay Film Screening Sans Soleil, Chris Marker (1983) | Laura Rascaroli. “The Essay Film: Problems, Definitions, Textual Commitments.” Framework: The Journal of Cinema and Media, FALL 2008, Vol. 49, No. 2, pp. 24-47. David Montero “Film also ages: time and images in Chris Marker's Sans soleil”, Studies in French Cinema, 6:2, 2006, pp. 107-115. Chris Darke “Chris Marker” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 530-531. |
5 | The New American Independent Cinema Screening Stranger Than Paradise, Jim Jarmusch (1984) | Richard Linnett “As American as You Are: Jim Jarmusch and Stranger than Paradise” Cinéaste, Vol. 14, No. 1 (1985), pp. 26-28. Emanuel Levy “The New York School of Indies” in Cinema of Outsiders. The Rise of American Independent Film. New York University Press, pp. 184-191. |
6 | Cinéma du Look: French New New Wave Screening Nikita, Luc Besson (1990) | Sue Harris, “Cinema du Look,” European Cinema, ed. Elizabeth Ezra. Oxford University Press. 2004. pp.219-233. |
7 | New Iranian Cinema Screening Close-up, Abbas Kiarostami (1990) | Hamid Naficy “Iranian Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 672-678. Godfrey Cheshire “Abbas Kiarostami: A Cinema of Questions” Film Comment, Vol. 32, No. 4 (July-August 1996), pp. 34-36. Bernard Stiegler “On Abbas Kiarostami’s Closeup” Parrhesia. Vol. 20, 2014, pp. 40-48. |
8 | MIDTERM EXAM | Alvaray, L. (2012). Are we global yet? New challenges to defining Latin American cinema. Studies in Hispanic Cinemas (new title: Studies in Spanish & Latin American Cinemas), 8(1), 69-86. Shaw, D. (2016). The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Manchester University Press. pp. 85-95. |
9 | New Asian Cinema Screening Fallen Angels, Wong Kar-wai. 1995. | Dominic Pettman (2000) “The floating life of fallen angels: Unsettled communities and Hong Kong cinema,” Postcolonial Studies: Culture, Politics, Economy, 3:1, 69-80. Chuck Stephens “Time pieces: Wong Kar-Wai and the Persistence of Memory” Film Comment, Vol. 32, No. 1 (Jan-Feb 1996), pp. 12-18. |
10 | New European Cinema I - Banlieus Screening Le Haine, Mathieu Kassovitz (1995) | Amy Siciliano, “La Haine: Framing the ‘Urban Outcasts’” ACME International Journal for Critical Geographies, Vol. 6 No. 2. 2007, pp.211-230. |
11 | Northern European Farce Screening Drifting Clouds, Aki Kaurismaki (1996) | Bert Cardullo “Finnish Character: An Interview with Aki Kaurismäki” Film Quarterly, Vol. 59, No. 4 (Summer 2006), pp. 4-10. Jonathan Romney “Last Exit to Helsinki: The Bleak Comedic Genius of Aki Kaurismäki, Finland’s Finest” Film Comment, Vol. 39, No. 2 (MARCH/APRIL 2003), pp. 43-45, 47. |
12 | Post-Socialist Eastern European Cinema Screening Occident, Cristian Mungiu, 2002 (102 min) | Adriana Cordali Gradea (2018) “The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident” Journal of European Studies. Volume 48, issue 3-4, page(s): 250-264. Marian Țuțui and Raluca Iacob, “New Romanian Cinema: Geography and Identity” in Christina Stojanov (Ed) The New Romanian Cinema. Edinburg University Press. 2021, pp. 211-224. |
13 | New European Cinema II - Postcolonial Europe Screening Caché, Michael Haneke (2005) | Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296. Isabelle McNeill “Transitional Spaces: Media, Memory and the City in Contemporary French Film” in Cities in Transition. The Moving Image and The Modern Metropolis. Ed. A. Webber & E. Wilson. Wallflower Press. 2008, p. 205-215. |
14 | FINAL PROJECT | |
15 | Review of the semester | |
16 | FINAL EXAM |
Course Notes/Textbooks |
|
Suggested Readings/Materials | Geoffrey Nowell-Smith. The Oxford History of World Cinema. Oxford University Press, 1999. Elizabeth Ezra. Ed. European Cinema. Oxford University Press. 2004 |
EVALUATION SYSTEM
Semester Activities | Number | Weigthing |
Participation |
1
|
20
|
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | ||
Project |
1
|
40
|
Seminar / Workshop | ||
Oral Exams | ||
Midterm |
1
|
40
|
Final Exam | ||
Total |
Weighting of Semester Activities on the Final Grade |
3
|
100
|
Weighting of End-of-Semester Activities on the Final Grade | ||
Total |
ECTS / WORKLOAD TABLE
Semester Activities | Number | Duration (Hours) | Workload |
---|---|---|---|
Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
Study Hours Out of Class |
14
|
2
|
28
|
Field Work |
0
|
||
Quizzes / Studio Critiques |
0
|
||
Portfolio |
0
|
||
Homework / Assignments |
0
|
||
Presentation / Jury |
0
|
||
Project |
1
|
22
|
22
|
Seminar / Workshop |
0
|
||
Oral Exam |
0
|
||
Midterms |
1
|
22
|
22
|
Final Exam |
0
|
||
Total |
120
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
1
|
2
|
3
|
4
|
5
|
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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. |
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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. |
X | ||||
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. |
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9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
X | ||||
10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
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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). |
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12 | To be able to use a second foreign language at the medium level. |
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13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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