FACULTY OF COMMUNICATION

Department of Cinema and Digital Media

CDM 310 | Course Introduction and Application Information

Course Name
Horror Film
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 310
Fall/Spring
3
0
3
5

Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Mode of Delivery -
Teaching Methods and Techniques of the Course Discussion
Q&A
Lecture / Presentation
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce students to the immense field of horror film studies.
Learning Outcomes The students who succeeded in this course;
  • Identify the key concepts of horror film theory.
  • Analyze the representations of gender in horror films.
  • Specialized in basic horror sub-genres.
  • Compare significant approaches in history of horror cinema from classical to contemporary.
  • Argue within the context of cinematic gaze.
Course Description This course combines theoretical work and film analysis. With a chronological progression through the in-class and off-class screenings, theories on horror films will be applied to discuss questions of gender and politics. Students will be expected to write three response papers.

 



Course Category

Core Courses
Major Area Courses
Supportive Courses
X
Media and Management Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction to genre cinema
2 Gaze and Representation Screening: Vampyr (1931) Dracula (1931) Dracula (1979) Bram Stoker’s Dracula (1992) Alison Peirse, “The Impossibility of Vision: Vampirism, Formlessness and Horror in Vampyr” in Studies in European Cinema Vol. 5 No. 3 (2009), 161-170. Robin Wood, “Burying the Undead: The Use and Obsolescene of Count Dracula” in The Dread of Difference: Gender and Horror Film ed. Barry Keith Grant (1983, Austin, TX: University of Texas Press, 2015), 388-402.
3 Monster as Woman Screening: Bride of Frankenstein (1936) Cat People (1942) Mary Jacobus, “Is There a Woman in This Text?” in New Literary History Vol. 14 No.1 (Autumn, 1982), 117-141. Elizabeth Young, “Here Comes the Bride: Wedding Gender and Race in Bride of Frankenstein” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1991/2015, Austin, TX: University of Texas Press), 359-387. Karen Hollinger, “The Monster as Woman: Two Generations of Cat People” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1991/2015, Austin, TX: University of Texas Press), 346-358.
4 Lesbian Vampires Screening: Daughters of Darkness (1971) The Blood Spattered Bide (1972) Bonnie Zimmermann, “Daughters of Darkness: The Lesbian Vampire on Film” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 430-438. Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge) 59-72.
5 Zombie Politics Screening: The Night of the Living Dead (1968) Cabin Fever (2002) 28 Days Later (2002) 28 Weeks Later (2007) The Sadness (2021) Train to Busan (2016) Barry Keith Grant, “Taking Back the Night of the Living Dead: George Romero, Feminism and Horror Film” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 228-240. Kerstin Oloff, “From Sugar to Oil: The Ecology of George A. Romero’s Night of the Living Dead” in Journal of Postcolonial Writing Vol. 53 No.3 (2017), 316-328.
6 The Eye of the Spectator Screening: Opera (1987) First Response Paper Due Date Donald L. Anderson, “Georges Bataille: The Globular & Cross Gender Identification Through Eyeball Mutilation In The Horror Film” in Rhizomes No. 7 (Fall, 2003), http://www.rhizomes.net/issue7/anderson.htm Leon Hunt, “A (Sadistic) Night at the Opera” in The Horror Reader, ed. Ken Gelder (2000, London: Routledge), 324-335. Adam Knee, “Genre, Gender, Argento” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 430-438.
7 Re-Gendering the Final Girl Screening: Sleepaway Camp (1983) Scream (1996) Tragedy Girls (2017) Carol Clover, “Her Body, Himself: Gender in the Slasher Film” in The Dread of Difference, 2nd edition, ed. Barry Keith Grant (1981/2015, Austin, TX: University of Texas Press), 68-115.
8 Rape-Revenge Screening: I Spit On Your Grave (1978-2010) Revenge (2017) Laura Mee, “The re-rape and Revenge of Jeniffer Hills: Gender and genre in I Spit On Your Grave (2010)” in Horror Studies Vol. 4 No. 1 (2013), 75-89. Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge), 122-138.
9 Adolescence and Menstruation Screening: Ginger Snaps (2000) Raw (2016) When Animals Dream (2014) Martin Barker, “Menstrual Monsters: The Reception of the Ginger Snaps Cult Horror Franchise” in Film International Vol.4 No.21 (2006), 68-77.
10 New French Extremity Screening: Martyrs (2008) Frontiere(s) (2007) In My Skin (2002) Second Response Paper Due Date Christopher Butler, “Spectatorial Shock and Carnal Consumption: (Re)envisaging Historical Trauma in New French Extremity” University of South Florida Graduate Dissertation, Scholar Commons (January, 2013), 48-68.
11 Exorcism and Conservatism Screening: The Conjuring (2013) The Exorcist (1973) Barbara Creed, Monstrous Feminine (2007, New York, NY: Routledge), 31-42. Douglas Kellner, “Poltergeist: Suburban Ideology” in Jump Cut No.28 (April, 1983), 5-6.
12 Digital Horror and Found Footage Screening: The Ring (2002) August Underground Mordum (2003) James Aston, Nightmares Outside the Mainstream: August Underground and Real/Reel Horror 137-148 Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon (2015) Kimberly Jackson, Technology, Monstrosity, and Reproduction in Twenty-First Century Horror (2013), 31-53
13 Mutation and Kawaii Horror Screening: Vampire Girl vs. Frankenstein Girl (2009) Tokyo Gore Police (2008) Jay McRoy, Nighmare Japan Contemporary Japanese Horror Cinema (2008, New York, NY: Rodopi), 116-146.
14 Screening: X (2022) - Pearl (2022) Third Response Paper Due Date Sigmund Freud, The Uncanny, (1919) E.T.A Hoffmann, The Sandman (2016, London: Penguin Books)
15 Third Response Paper Due Date
16 Review of the semester

 

Course Notes/Textbooks
Suggested Readings/Materials

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
3
90
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
4
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
16
3
48
Field Work
0
Quizzes / Studio Critiques
0
Portfolio
0
Homework / Assignments
3
18
54
Presentation / Jury
0
Project
0
Seminar / Workshop
0
Oral Exam
0
Midterms
0
Final Exam
0
    Total
150

 

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.

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.

3

To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.

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.

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.

X
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.

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.

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.

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.

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

 


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