CDM 102 | Course Introduction and Application Information

Course Name
Images, Sounds, Cultures II
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 102
Spring
2
2
3
6

Prerequisites
None
Course Language
English
Course Type
Required
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course complements CDM 101 by exploring the postmodern world of images. It aims to change the way students look at the visual world that surrounds them. It will help students to develop an understanding of the ways in which meaning is produced in visual culture. The course will center on the following questions: How do we make meaning of the audio-visual world? In what ways do economics, politics, culture affect visual representation? How do the ways in which visual culture is produced, consumed, distributed, and interpreted, play into the images we encounter every day? What is the relationship between images and power?
Course Description The students who succeeded in this course;
  • define contemporary visual culture
  • explain how viewers make meaning of images
  • argue with the basic concepts of visual culture
  • analyze images in their economic, social, political and cultural contexts
  • apply methods of visual cultural analysis to images
  • identify how images circulate through the social field
  • discuss the politics of visual representation
Course Content The course reviews images ranging from newspapers to the Web, advertisements to the movies, from television to fine arts and discusses cultural products in their economic, social, political and cultural contexts. The course will be held in interactive lecture form. Students are expected to participate in class discussion. There will be in-class screening of videos related to the topics covered. Evaluation will be based on two essays and a final project. Students will present their final projects in class at the end of the semester.

 



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 Basic concepts
2 From Modernism to Postmodernism – Changing Regimes of Visuality I Marita Sturken & Lisa Cartwright “Chapter 8: Postmodernism, Indie Media, and Popular Culture” in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 307-328.
3 From Modernism to Postmodernism – Changing Regimes of Visuality II: Simulacrum Screening: Český Sen (2004) (90 min) Sturken & Cartwright “Chapter 8: Postmodernism, Indie Media, and Popular Culture” in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 328-345. Jean Baudrillard, Simulacra and Simulation, pp. 3-6.
4 The Spectacle: Shock & Awe Screening: The Persuaders (PBS) http://www.pbs.org/wgbh/pages/frontline/shows/persuaders/ Zeynep Gürsel, “Spectacular Terrorism. Images on the Frontline of History” 9/11 New York – Istanbul (Ed. Feride Çiçekoğlu), pp. 154-191. Guy Debord, The Society of the Spectacle, 1967. Jean Baudrillard, The Gulf War did not take place. 1995.
5 Culture Jamming SUBMIT ASSIGNMENT 1: SIMULACRUM Marilyn Bordwell, “Jamming Culture: Adbusters' Hip Media Campaign Against Consumerism” in Princen, Thomas, Michael Maniates, and Ken Conca (Eds) Confronting consumption. MIT Press. 2002, pp. 237-254.
6 Virtual Reality, Digital Cultures Screening: Digital Nation (PBS) http://www.pbs.org/wgbh/frontline/film/digitalnation/ Nicholas Mirzoef “Virtuality: From virtual antiquity to the pixel zone” in An Introduction to Visual Culture. Routledge, 1999. pp. 91-125.
7 The Cool Screening Merchants of Cool (PBS) http://www.pbs.org/wgbh/pages/frontline/shows/cool/view/ Dick Pountain and David Robins. Cool Rules. The Anatomy of an Attitude. Reaktion Books. 2000, pp. 15-33. Robert Farris Thompson “An Aesthetic of the Cool” African Arts. 1973. Vol 7(1), pp. 40-43, 64-67, 89-91.
8 From Nationalism to Globalism William Mazzarella "'Very Bombay': Contending with the Global in an Indian Advertising Agency." Cultural Anthropology 18, no. 1 (2003): 33–71. Derya Ozkan & Robert J. Foster “Consumer Citizenship, Nationalism, and Neoliberal Globalization in Turkey: The Advertising Launch of Cola Turka” Advertising & Society Review, vol. 6 no. 3, 2005.
9 Global Circulation of Images I Sturken & Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 389-406.
10 Global Circulation of Images II SUBMIT ASSIGNMENT 2: (GLOBALIZATION) Sturken & Cartwright, “Chapter 10: The global flow of visual culture”, in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2009, pp. 407-430. Mirzoeff, “Diana’s Death: Gender, Photography and the Inauguration of Global Visual Culture” in An Introduction to Visual Culture. Routledge, 1999. pp. 231-247.
11 Social Media & the Internet Screening Growing up Online (PBS) http://www.pbs.org/wgbh/frontline/film/kidsonline/ Generation Like (PBS)http://www.pbs.org/wgbh/frontline/film/generation-like/ Susan Murray (2008) “Digital Images, Photo-sharing, and our shifting notions of everyday aesthetics” Journal of Visual Culture. Vol 7(2), pp. 147-163.
12 Student Presentations
13 Student Presentations
14 Review of the Semester
15 Review of the Semester
16 Final Project Submission

 

Course Notes/Textbooks

 

 

Suggested Readings/Materials

Marita Sturken & Lisa Cartwright. 2009. Practices of looking: an introduction to visual culture. New York: Oxford University Press.

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
2
40
Presentation / Jury
Project
1
40
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
4
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
4
64
Laboratory / Application Hours
(Including exam week: 16 x total hours)
16
Study Hours Out of Class
16
3
Field Work
Quizzes / Studio Critiques
Homework / Assignments
2
12
Presentation / Jury
Project
1
26
Seminar / Workshop
Oral Exam
Midterms
Final Exam
    Total
162

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to define and discuss the history, underlying concepts and theories of cinema and digital media.

X
2

To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking.

X
3

To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. 

4

To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing.

5

To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work.

6

To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images.

X
7

To be able to perform specialized tasks for creating digital media narratives with interactive elements.

8

To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view.

X
9

To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner.

10

To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment.

11

To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

X
12

To be able to speak a second foreign language at a medium level of fluency efficiently.

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

X

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