CDM 312 | Course Introduction and Application Information

Course Name
Film Seminar: A Cinema in the Shade IV
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 312
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;
  • 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 films and new media works they will encounter
Course Content This is the fourth installment 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 canons, as well as the experimental and avant-garde (commercial or non-commercial), even trash and camp This installment of the film seminar has two major focuses: the connection between cinema and the body, and the effects of technology on cinema.

 



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 Virtuality - Screening: Thomas in Love (Pierre-Paul Renders, 2000) Gilles Deleuze, The Actual and the Virtual, Dialogues, (1987), 148-152
3 Embodiment I - Screening: Blade Runner (Ridley Scott, 1982) Donna Harraway, Cyborg Manifesto, Simians, Cyborgs, and Women (1984, New York: Routledge), 149-183.
4 Embodiment II - Screening: Antiviral (Brandon Cronenberg, 2012) Gilles Deleuze and Felix Guattari, Desiring Machines, Anti-Oedipus, (1972), 1-50.
5 Embodiment III - Screening: Ghost in the Shell (Mamoru Oshii, 1995) Alan Turing, Computer Machinery and Intelligence, Mind, Vol. 59, No: 236 (Oct, 1950), 433-460
6 Simulacra and Simulation - Screening: Philip K Dick’s Electric Dreams: Real Life (Jeffrey Reiner, 2018) Black Mirror: Fifteen Million Merits (Euros Lyn, 2011) Jean Baudrillar, Simulacra and Simulation, (1981), 1-28.
7 Transmedia Storytelling - Screening: Timecode (Mike Figgis, 2000 Andrea Phillips, A Creator’s Guide to Transmedia Storytelling, (2012), 55-69.
8 Hybrid-Spaces - Screening: eXistenz (David Cronenberg, 1999) Eric Kluitenberg, The Network of Waves, Open, No:11 (2006), 6-16.
9 Augmented Reality - Screening: Tokyo Gore School (Yohei Fukuda, 2009) Jason Farman, Mobile Interface Theory, Chp. 4 (2011), 76-94.
10 Mass Media - Screening: Videodrome (David Cronenberg, 1983) Mary Flanagan, Mobile Identities, Digital Stars and Post-Cinematic Selves, Wide Angle, Vol.21 No:1 (January, 1999), 77-93.
11 Online Communities - Screening: Nerve (Henry Joost and Ariel Schulman, 2016) Jason Farman, Mobile Interface Theory, Chp. 3 (2011), 56-75.
12 Perverse Computing - Screening: Black Mirror: The Entire History of You (Brian Welsh, 2011) – Black Mirror: San Junipero (Owen Harris, 2016) Kristina Andersen and Joanna Berzowska, Worn Technology-Alteration of Social Space, Hybrid Space, Open! Platform for art Culture and Public Domain (November, 2006) www.onlineopen.org/download.php?id=284
13 Web 2.0 - Screening: Catfish (Henry Joost and Ariel Schulman, 2016) Tim O’Reilly, What is Web 2.0, Web Squared: Web 2.0 Five Years On (Oct, 2009), http://www.oreilly.com/pub/a//web2/archive/what-is-web-20.html
14 Found Footage and Viral Marketing - Screening: Megan is Missing (Michael Goi, 2011) Alexandra Heller-Nicholas, Found Footage Horror Films, (2014), 58-86
15 Review of the semester
16 Review of the semester

 

Course Textbooks
References

 

EVALUATION SYSTEM

Semester Requirements Number Percentage
Participation
1
25
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
2
75
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Contribution of Semester Work to Final Grade
3
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
2
27
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
118

 

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