FACULTY OF COMMUNICATION

Department of Cinema and Digital Media

CDM 330 | Course Introduction and Application Information

Course Name
Psychoanalysis and Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 330
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
Course Level
First Cycle
Mode of Delivery Online
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 use of psychoanalysis as a method of film analysis in film studies.
Learning Outcomes The students who succeeded in this course;
  • To identify the key concepts of psychoanalysis.
  • To analyze the representations of gender in cinema.
  • To apply the concepts of psychoanalysis to film studies.
  • To compare significant psychoanalytical approaches within each other.
  • To argue within the context of feminist psychoanalysis.
Course Description This course combines theoretical work and film analysis Theories of psychoanalysis will be applied to the analysis of films, to discuss questions of representation in relation to issues of gender.

 



Course Category

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

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction
2 What is Psychoanalysis? Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47.ISBN-10 : 0860911489 Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008.ISBN-10 : 8787564092
3 Introduction to Freud Sigmund Freud, Totem and Taboo. London: Routledge, 1950. 1-86.ISBN-10 : 9780393001433
4 Alter-Ego Screening: Lost Highway (David Lynch, 1997) Sigmund Freud, The Interpretation of Dreams. New York, NY: Basic Books. 2005. 248-295.ISBN-10 : 0465019773
5 Introduction to Lacan Jacques Lacan, Book XI:Four Fundamental Concepts of Psychoanalysis. New York, NY: W.W. Norton&Company, 1998. 1-60. ISBN-10 : 0393317757
6 Mirror Stage Screening: Under the Skin (Jonathan Glazer, 2013) Jacques Lacan, Ecrits. New York, NY: W.W. Norton&Company, 2006. 75-82.ISBN-10 : 0393329259
7 Feminist Psychoanalysis and Film Theory First response paper deadline Laura Mulvey, “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44. ISBN-10 : 0199376891 Joan Copjec, “The Orthopsychic Subject: Film Theory and the Reception of Lacan.” October, vol. 49 (1989): 53-71.
8 The Good and The Bad Mother / Mourning Screening: Babadook (Jennifer Kent, 2014) Melanie Klein, “Early Stages of Oedipus Conflict.” International Journal of Psychoanalysis, vol. 9 (1928): 169-80.
9 Abject and Hysteria Screening: Possession (Andrzej Zulawski, 1981) Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 1-31.ISBN-10 : 0231053479
10 Paternity-Maternity Screening: The Brood (David Cronenberg, 1979) Second response paper deadline Barbara Creed, Monstrous Feminine. London: Routledge, 1994. 43-58ISBN-10 : 0415052599
11 Eros/Thanatos and Gaze Screening: Amer (Helene Cattet, Bruno Forzani, 2009) Sigmund Freud,Beyond the Pleasure Principle. London: Hogart Press, 1920-1922.ISBN-10 : 0393007693
12 Uncanny and the Real Screening: Hole in the Ground (Lee Cronin, 2019) Third response paper deadline Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. 32-55.ISBN-10 : 0415052599
13 Sexuation and Other Jouissance Screening: The Love Witch (Anna Biller, 2017) Jacques Lacan, Book XX: On Feminine Sexuality the Limits of Love and Knowledge. New York, NY: W.W. Norton&Company, 1998.ISBN-10 : 0393319164
14 Film Theory and Psychoanalysis Screening: Perverts Guide to Cinema (Sophie Fiennes, 2006) Fourth response paper deadline Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. 27-47.ISBN-10 : 0860911489 Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008.ISBN-10 : 8787564092
15 Semester Review
16 Semester Review

 

Course Notes/Textbooks
Suggested Readings/Materials

Jacqueline Rose, Sexuality in the Field of Vision. London: Verso, 2005. ISBN-10 : 0860911489

 

Alenka Zupancic, Why Psychoanalysis. Latvia, NSU Press, 2008. ISBN-10 : 8787564092

 

Sigmund Freud, Totem and Taboo. London: Routledge, 1950. ISBN-10 : 9780393001433

 

Sigmund Freud, The Interpretation of Dreams. New York, NY: Basic Books. 2005. ISBN-10 : 0465019773

 

Sigmund Freud, Beyond the Pleasure Principle. London: Hogart Press, 1920-1922. ISBN-10 : 0393007693

 

Jacques Lacan, Book XI:Four Fundamental Concepts of Psychoanalysis. New York, NY: W.W. Norton&Company, 1998. ISBN-10 : 0393317757

 

Jacques Lacan, Ecrits. New York, NY: W.W. Norton&Company, 2006. ISBN-10 : 0393329259

 

Jacques Lacan, Book XX: On Feminine Sexuality the Limits of Love and Knowledge. New York, NY: W.W. Norton&Company, 1998. ISBN-10 : 0393319164

 

Julia Kristeva, Powers of Horror: An Essay on Abjection. New York: Columbia University Press, 1982. ISBN-10 : 0231053479

 

Barbara Creed, Monstrous Feminine. London: Routledge, 1994. ISBN-10 : 0415052599

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
1
80
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
2
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
12
1
12
Field Work
0
Quizzes / Studio Critiques
0
Portfolio
0
Homework / Assignments
4
15
60
Presentation / Jury
0
Project
0
Seminar / Workshop
0
Oral Exam
0
Midterms
0
Final Exam
0
    Total
120

 

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.

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.

X
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.

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.

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.

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.

X

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

 


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