FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 111 | Course Introduction and Application Information
| Course Name |
History of Moving Images
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 111
|
Fall
|
3
|
0
|
3
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Required
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | History of Moving Images is a foundational course that introduces the students the development of moving image technologies and narrative forms in cinema from the early chronographs to contemporary streaming media platforms. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course offers an overview of cinema history and explores the basic tools for analyzing the cinema industry and the art of film. Throughout the course we will learn how to develop a historical appreciation of moving images based on a survey of cinematic traditions contained within narrative, documentary, and experimental forms, and acquire a critical, technical, and aesthetic vocabulary relating to particular cinematic practices and structures. We will examine how meaning in films is conditioned by the uses of camera, editing, lightning, sound and acting, explore the impact of technological developments on film production throughout the history of cinema. The course will also develop the students’ close analysis skills in watching, describing and analyzing film form and aesthetics. By the end of the class the students will have the tools necessary to begin to describe, historicize, and analyze the film text. |
|
|
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 Studying Film | The Film Experience, Ch. 1 |
| 2 | Mise-en-scène | The Film Experience, Ch. 2 |
| 3 | Cinematography | The Film Experience, Ch. 3 |
| 4 | Editing: Montage and Continuity | The Film Experience, Ch. 4 |
| 5 | Editing: Post-continuity | Excerpts from Post-Cinema |
| 6 | Sound | The Film Experience, Ch. 5 |
| 7 | Narrative: Classic and Complex | The Film Experience, Ch. 6 and excerpts from and Puzzle Film |
| 8 | MIDTERM EXAM | |
| 9 | Genre and auteur | The Film Experience, Ch. 9 |
| 10 | Documentary | The Film Experience, Ch. 7 |
| 11 | Experimental and Interactive Media | The Film Experience, Ch. 8 |
| 12 | TV and Platforms | Jason Mittell, Complex TV, Ch. 1 (http://mcpress.media-commons.org/complextelevision/complexity/) |
| 13 | Theories of Film-1 | The Film Experience, Ch. 11 |
| 14 | Theories of Film-2 | The Film Experience, Ch. 11 |
| 15 | Term Paper due | |
| 16 | Semester review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Timothy Corrigan & Patricia White. The Film Experience. NY: Bedford St. Martin’s. Timothy Corrigan, A Short Guide to Writing about Film. Boston: Pearson. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
20
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
30
|
| Presentation / Jury | ||
| Project |
1
|
30
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
20
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
70
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
30
|
| 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
|
3
|
42
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
10
|
20
|
| Presentation / Jury |
0
|
||
| Project |
1
|
20
|
20
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
20
|
20
|
| Final Exam |
0
|
||
| Total |
150
|
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. |
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. |
X | ||||
| 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
NEWS |ALL NEWS
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IUE Faculty of Communication Advisory Board members visited our Faculty and Studios on June 22, 2023
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