FACULTY OF COMMUNICATION

Department of Cinema and Digital Media

GEAR 307 | Course Introduction and Application Information

Course Name
Contemporary World Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEAR 307
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
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 contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context.
Learning Outcomes The students who succeeded in this course;
  • Define main themes, key moments and trends in contemporary world cinema from the 1980s onwards.
  • Discuss how world cinema intervenes in debates about, and contributes new understandings to, our formulation of the local, national and the transnational in contemporary film studies.
  • Compare discourses regarding questions of representation in the context of gender, race, class and sexuality in cinema across different geographies.
  • Analyze key concepts in film studies and how they apply to world cinema.
  • Discuss meanings of the concepts of local, national and global in their wider implications to film and media studies as well as other disciplines of humanities.
  • Analyze diverse beliefs, practices, stories, and conditions within a wide range of Western and non-Western Cultures through the representations in the films.
  • Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization.
  • Evaluate complex relationships between national identity and transnational production.
Course Description This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text. This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text.

 



Course Category

Core Courses
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 Middle Eastern Cinema: Iran Ten, Abbas Kiarostami, 2002 (94 min) Moore, L. C. (2005) “Women in a Widening Frame: (Cross-) Cultural Projection, Spectatorship and Iranian Cinema” Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33.
3 Eastern European Cinema: Romania Occident, Cristian Mungiu, 2002 (102 min) Adriana Cordali Gradea (2018) “The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident” Journal of European Studies. Volume 48, issue 3-4, page(s): 250-264. Marian Țuțui and Raluca Iacob, “New Romanian Cinema: Geography and Identity” in Edited by Christina Stojanov The New Romanian Cinema. Edinburg University Press. 2021.
4 Western European Cinema I Caché, Michael Haneke (2005) Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296.
5 Western European Cinema II Head-On, Fatih Akın (2004) Berna Güneli “Chapter Two: Language Use and Dialogue: Multilingualism in Akın’s Head-On” in Güneli (2011) Challenging European Borders: Fatih Akın’s Filmic Visions of Europe, PhD dissertation, The University of Texas at Austin, pp. 96-126.
6 Subcontinent Cinema: India Slumdog Millionaire (2008) Danny Boyle Ana Cristina Mendes (2010) “Showcasing India Unshining: Film Tourism in Danny Boyle’s Slumdog Millionaire” Third Text, 24:4, 471-479.
7 The Global South: Burkina Faso Under the Moonlight (2004) Appoline Traoré Lizelle Bisschoff (2010) “Visions of female emancipation: three recent films from West Africa” Journal of African Cinemas, Vol. 2:1, 37-48.
8 Midterm Exam
9 Cinema in Australia and New Zealand The Piano (1993) Jane Campion Barbara Klinger (2006) “The art film, affect and the female viewer: The Piano revisited” Screen, Volume 47, Issue 1, Spring 2006, Pages 19–41.
10 Korean New Wave Parasite (2017) Bong Joon-Ho Schulze, Jonathan (2019) “The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho” Journal of Popular Film and Television, 47:1, 21-29, pp. 21-29.
11 Japanese Cinema Shoplifters (2018) Hirokazu Kore-eda Erlich, Linda C., (2011). “Kore-eda’s Ocean View” Film Criticism, Vol. 35, No. 2/3, pp.127–146.
12 Latin America: Mexico Roma (2018) Alfonso Cuarón Sergio de la Mora (2019) “Roma: Reparation versus Exploitation” Film Quarterly 72 (4): 46–53.
13 Latin America: Brazil Aquarius (2016) Kleber Mendonça Filho Stephanie Dennison (2018) “Intimacy and cordiality in Kleber Mendonça Filho’s Aquarius” Journal of Iberian and Latin American Studies. 24:3, 329-340.
14 Course Review
15 Course Review
16 Final Exam

 

Course Notes/Textbooks
Suggested Readings/Materials

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
1
30
Final Exam
1
50
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
0
Portfolio
0
Homework / Assignments
0
Presentation / Jury
0
Project
0
Seminar / Workshop
0
Oral Exam
0
Midterms
1
18
18
Final Exam
1
26
26
    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.

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.

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.

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

 


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