CDM 311 | Course Introduction and Application Information

Course Name
Film Seminar: A Cinema in the Shade III
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 311
Fall
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Required
Course Level
-
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce students to films that have an important place in experimental 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;
  • Define experimental and creative works of cinema, video and new media arts
  • Identify the diversity of cinema
  • Discuss films in relation to the institutions and cultures that produced them
  • Compare films in the context of their socio-cultural milieu
  • Analyze films as part of cinematic traditions of narrative, technique, and also as products of authorial styles
  • Classify the artistic film and new media works they will encounter
Course Content This is the third of a series of courses, mainly consisting of introducing and screening films which are crucial to forming film culture and not readily available elsewhere. The films are selected among the experimental, artistic and avant-garde works. Students are expected to present a case study/topic, write a research paper on the same subject, and a practical interpretation of a work or audio/visual sequence they choose. Attendance and active participation is also a part of the student evaluation criteria.

 



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 Early European Avant Garde - Screening: Hans Richter, Fernand Léger, Man Ray, Walter Ruttman, Rene Clair Ian Christie. French Avant Garde Film in the Twenties: From Specify to Surrealism. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 37-47.
3 American Avant Garde - Screening: Stan Brakhage, Hollis Frampton, Su Friedrich, Woody and Steina Vasulka, Guy Maddin, Maya Deren, Franz Zwartjes Lewis Jacobs, Experimental Cinema in America (Part Two: The Post-War Revival. Hollywood Quarterly. Vol. 3, no.3 (Spring, 1948), 278-292.
4 The Art of TV - Screening: Nam June Paik, Dara Birnbaum, Gary Hill, Bill Viola Patricia Mellencamp. The Old and the New: Nam June Paik. Art Journal Vol. 54, no.4 Video Art (Winter, 1995): 41-47
5 Sound, Image and Rythm - Screening: Claus Blume, Volker Schreiner, Marcel Odenbach, Michael Chion, Peter Kubelka Brigit Hein. The Structural Film. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 93-107.
6 Found Footage and Appropriated Material - Screening: Bruce Conner, Peter Tscherkassky Pavle Levi. Cinema by Other Means. Oxford University Press, 2012. 25-46.
7 From Cinema to Video - Screening: Jean Luc Godard + Anne Marie Mieville Daniel Morgan. Late Godard and Possibilities of Cinema. University of California Press, 2012. 253-265.
8 Feminist Film - Screening: Carolee Schneeman, Chantal Akerman Ivone Mergulies. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996, 100-128.
9 Queer Cinema - Screening: Barbara Hammer, Bruce La Bruce Bruce Labruce. Bruce LaBruce: Ride, Queer, Ride! Plug in Inc., 1997.
10 Film and Performance - Screening: Stellar, Abromowicthz, Miranda July, DV8 Kate Ince. Orlan: Millennial Female. Berg, 2000. 99-131
11 Cinema and Urbanism - Screening: Patrick Keiller - Robinson in Space Michael O’Pray. Avant Garde Film: Forms, Themes and Passion. Columbia University Press, 2003. 107-119.
12 The Art of Documentary - Screening: Agnes Varda, Werner Herzog, Wim Wenders David LaRocca. The Philosophy of Documentary Film: Image, Sound, Fiction Truth. Lexington Books, 2016, 287-305.
13 Representing the Other - Screening: Trinh T. Minh-Ha, Jean Rouch Trinh T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Indiana University Press, 2009. 79-119.
14 The Long Take - Screening: Abbas Kiarostami - Five, Nicolas Humbert & Werner Penzel - Middle of The Moment Lutz Koepnick. The Long Take: Art Cinema and the Wondrous. University of Minnesota Press, 2017. 12-54.
15 Review of the Semester
16 Review of the Semester

 

Course Textbooks
References

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
20
Presentation / Jury
1
20
Project
1
40
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Contribution of Semester Work to Final Grade
4
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
1
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
13
Presentation / Jury
1
13
Project
1
30
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.
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).
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