CDM 102 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Images, Sounds, Cultures II

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 102	Fall/Spring	2	2	3	6

Prerequisites	None
Course Language	English
Course Type	Service Course
Course Level	First Cycle
Mode of Delivery	face to face
Teaching Methods and Techniques of the Course	Discussion Q&A Lecture / Presentation
National Occupation Classification	-
Course Coordinator	-
Course Lecturer(s)	Prof. Dr. Ahmet GÜRATA
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?
Learning Outcomes	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 Description	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 and political contexts. Evaluation will be based on one assignment, two midterm exams and a visual project.
Related Sustainable Development Goals

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

Week	Subjects	Related Preparation
1	Introduction: Basic concepts and requirements
2	Postmodernism	Marita Sturken& Lisa Cartwright "Chapter 8: Postmodernism: Irony, Parody, Pastiche" in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018 (Third Edition), pp. 301-336.
3	Globalization	Sturken& Cartwright, "Chapter 10: The global flow of visual culture", in Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018.
4	Platforms and Algorithms	McDonald, Kevin, Smith-Rowsey, Daniel. The Netflix Effect: Technology and Entertainment in the 21st Century. Bloomsbury, 2016 (excerpts)
5	Gig Economy	Jamie Woodcock, Mark Graham, The Gig Economy: A Critical Introduction, Polity, 2020 (excerpts).
6	Artificial Intelligence	Illah Reza Nourbakhsh and Jennifer Keating, AI and Humanity. MIT Press, 2020 (excerpts)
7	Project Presentations
8	Project Presentations
9	Post-cinema	Shaviro, Steven. “Post-continuity: An Introduction,” in Post-Cinema: Theorizing 21st-Century Film. Eds. Shane Denson and Julia Leyda, 2016. (http://reframe.sussex.ac.uk/post-cinema/1-2-shaviro/)
10	TV and Serial Form	Dennis Broe, “Serial TV and Narratology” in Birth of the Binge: Serial TV and the End of Leisure, Wayne State UP, 2019.
11	Intermediality	Pethő, Ágnes. “Approaches to Studying Intermediality in Contemporary Cinema,” Acta Universitatis Sapientiae, Film and Media Studies 15:1, 2018, pp. 165-87.
12	Interactive Narrative	Ryan, Marie-Laure. “Interactive Narrative,” in The Johns Hopkins guide to digital media, eds. Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson, Johns Hopkins University Press, 2014.
13	Transmedia storytelling	Klaebe & Hancox, “Transmedia Storytelling,” In Moy, P (Ed.) Communication [Oxford Bibliographies]. Oxford University Press, 2017. Mittell, “Transmedia Television,” in Complex TV: The Poetics of Contemporary Television Storytelling, 2015. (http://mcpress.media-commons.org/complextelevision/transmedia-storytelling/)
14	Virtual Reality	Hillis, Ken. “Virtual Reality,” in The Johns Hopkins guide to digital media, eds. Marie-Laure Ryan, Lori Emerson, and Benjamin J. Robertson, Johns Hopkins University Press, 2014.
15	Review of the semester
16	Review of the semester

Course Notes/Textbooks

Marita Sturken& Lisa Cartwright. Practices of Looking. An Introduction to Visual Culture, Oxford University Press. 2018 (Third Edition)

Suggested Readings/Materials

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

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

Weighting of Semester Activities on the Final Grade	3	60
Weighting of End-of-Semester Activities on the Final Grade	1	40
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	4	64
Laboratory / Application Hours	16		0
Study Hours Out of Class	14	3	42
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments	1	23	23
Presentation / Jury			0
Project	1	23	23
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam	1	28	28
		Total	180

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	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.	-	-	X	-	-
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.	-	-	-	-	X
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	-	-	-	-