FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 443 | Course Introduction and Application Information
Course Name |
History of Documentary Film
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
CDM 443
|
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 | - | |||||
Course Coordinator | - | |||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | This course examines the documentary through a series of questions: What defines this genre or mode? What truths can documentary claim? In addressing these questions this course considers the documentary film in relation to a wide variety of contexts: historical, political, and aesthetic. Course materials will cover the documentary canon—a set of historically important films — and examine documentary’s recent resurgence as a popular mode of entertainment and as a mechanism of discourse. |
Learning Outcomes |
The students who succeeded in this course;
|
Course Description | The course will include one mid term and one quiz. |
|
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 to Documentary | Bill Nichols, “Introduction” (pg. xi - xviii) and Chapter 1: How can we Define Documentary Film?” |
2 | Early Years of Documentary Screening: Nanook of the North, 1922, Robert Flaherty, 79 mins, Selections fromGrass and A Propos de Nice | Bill Nichols, “Chapter 5: How Did Documentary Filmmaking Get Started?” |
3 | Social Issues in Documentary Screening: Ekümenopolis, 2011, Imre Azem, 88 min. 4.1 Miles 2016, Daphne Matziaraki, 26 mins. | Bill Nichols, “Chapter 8: How Have Documentaries Addressed Social and Political Issues?” &“Chapter 4: What Makes Documentaries Engaging and Persuasive?” pages 212 – 253. |
4 | Ethics, Truth and Propaganda in Documentary Sections of Why We Fight, 1942, Frank Capra, 52 mins., Restrepo, 2010, Sebastian Junger & Tim Hetherington, 93 min., and Triumph of the Will, 1936, Leni Riefensthal, 1935, 1 hour 54 min. | Bill Nichols, “Chapter 2: Why Are Ethical Issues Central to Documentary Filmmaking?” Sontag, S. (1975). “Fascinating Fascism”, New York Review of Books, 6 February 1975, pp. 73-105. |
5 | Documentary and Animals Screening: Kedi, 2016, Ceyda Torun & Los Reyes, 2018, Bettina Perut and Iván Osnovikoff, 78 min | Berger, John. “Why Look at Animals,” About Looking (New York: Pantheon, 1980), 1-26. Pick, Anat. “Why Not Look at Animals?” (January 2015, NECSUS European Journal of Media Studies. 4(1):107-125.. |
6 | The Animal Essence in Cinema Screening: Roar, 1981, Noel Marshall, 102 min. | Lippit, Akira Mizuta. “Introduction” Electric Animal. (Minneapolis: University of Minnesota Press, 2000), 1-26. |
7 | Forms of Documentary: Expository Screening: Searching for Sugarman, 2012, Malik Benjdjeloul, 86 min. | Bill Nichols, “Chapter 6: How Can we Differentiate Among Documentaries?” pages 167 – 172. |
8 | Forms of Documentary: Poetic Screening: Koyaanisqatsi, 1982 Godfrey Reggio, 87 min. and the Kuleshov Effect | Bill Nichols, “Chapter 6: How Can we Differentiate Among Documentaries?” pages 142 – 166. Bill Nichols. 2001. “Documentary Film and the Modernist Avant-Garde.” Critical Inquiry. 27:4. pp. 580-610. |
9 | Mid Term Exam – no class | |
10 | Modes of Documentary: Observational and Participatory Screening scenes from İki Dil Bir Bavul, Orhan Eskiköy and Özgür Doğan, 2008, 81 min., Bob Dylan: Don’t Look Back, 1967, D.A. Pennebaker, 96 min (Observational) Grizzly Man, 2005, Werner Herzog, 1 hr, 44 min. Lift, 2001, Marc Isaacs, 24 min. (Participatory) | Bill Nichols, “Chapter 7: How Can We Describe the Observational, Participatory, Reflexive, and Performative Modes of Documentary Film?” pages 172 – 179. |
11 | Modes of Documentary: Reflexive and Performative Screening: Stories We Tell, 2012, Sarah Polley, 108 min., (Reflexive) The Gleaners and I, 2000, Agnès Varda (Performative) | Bill Nichols, Chapter 7 continued, pages 179 – 194. |
12 | The Reenactment Screening: The Act of Killing, 2012, Joshua Oppenheimer. 1 hr 57 min., sections of The Thin Blue Line, Errol Morris, 1988 101 min.. | Bill Nichols, Chapter 7 continued, pages 194 – 199. |
13 | The Reenactment Screening: The Act of Killing, 2012, Joshua Oppenheimer. 1 hr 57 mins., sections of The Thin Blue Line, Errol Morris, 1988. | Bill Nichols, Chapter 7 continued, pages 159-172, 199 – 212. |
14 | The Mockumentary Screening: Land without Bread, Luis Buñuel. 1933, 27 mins. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, 2006, Larry Charles, 86 mins. | F is for Phony: Fake Documentary and Truth's Undoing. Alexandra Juhasz and Jesse Lerner, Eds. University of Minnesota Press, 2006. |
15 | Semester review | |
16 | Semester review |
Course Notes/Textbooks | Bill Nichols, Introduction to Documentary, Indiana University Press, 2017 (3rd Edition). |
Suggested Readings/Materials | Geoffrey Nowell-Smith, The Oxford History of World Cinema. Oxford University Press, 1996. |
EVALUATION SYSTEM
Semester Activities | Number | Weigthing |
Participation |
1
|
10
|
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques |
1
|
40
|
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | ||
Project | ||
Seminar / Workshop | ||
Oral Exams | ||
Midterm |
1
|
50
|
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 |
1
|
22
|
22
|
Portfolio |
0
|
||
Homework / Assignments |
0
|
||
Presentation / Jury |
0
|
||
Project |
0
|
||
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
|
||
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. |
|||||
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. |
|||||
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
NEWS |ALL NEWS
CDM senior year student Ecem has been selected to the Animation category at Adana Altın Koza Film Festival
CDM 4th-grade student Ecem Çörtle has been selected as a finalist in the National Student Films category of the 30th International Adana
CDM graduate Eylül Berivan Kızılırmak has been accepted to the Cologne Academy of Media Arts
CDM graduate Eylül Berivan Kızılırmak has been accepted to the master's program at the Academy of Media Arts Cologne (Kunsthochschule für Medien Köln).
Traditionalistic CDM End of Year Exhibition EPI.LOG took place in FC Studios
Cinema and Digital Media End of Year Exhibition EPI.LOG 2023, organized as part of IUE Faculty of Communication Exhibition "FC-EX 2023", was
IUE Faculty of Communication Advisory Board members visited our Faculty and Studios on June 22, 2023
IUE Faculty of Communication Advisory Board members Andreas Treske, Ayşe Matay, Barbaros Görgü, Dilek Gappi, Elif Demirci İşleğen, Emine Uysal Berger, Murat
Ataberk awarded at the İFSAK 43rd National Short Film and Documentary Competition
Our third-year student, Ataberk Eyolcu, returned from the 43rd National Short Film and Documentary Competition of İFSAK (Istanbul Photography and Cinema Amateurs
Our third-year CDM student Fikret Başar Kaya was at the 42nd Istanbul Film Festival
Our third year CDM student Fikret Başar Kaya participated as a Young Jury at the 42nd Istanbul Film Festival held on April
CDM hosted Dina Iordanova
Prof. Dina Iordanova gave a speech titled Olympics of Film: Dynamics of international film competitions on Thursday, January 5, 2023, in D002 at Izmir
Everything Unnerves Me, directed by Hazal Bayar and Çağıl Saydam at International Festivals
The festival journey of Cinema and Digital Media lecturer Dr. Hazal Bayar and graduate Çağıl Saydam's film Everything Unnerves Me continues.