FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 132 | Course Introduction and Application Information
| Course Name |
Visual Storytelling Studio
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 132
|
Spring
|
2
|
4
|
4
|
7
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Required
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionCase StudyQ&AJuryApplication: Experiment / Laboratory / WorkshopLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | Visual Storytelling Studio is a foundation course which introduces the students to the basic concepts, technical terminology, and aesthetic devices of visual storytelling. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | Visual Storytelling Studio aims to introduce the students to basic photographic techniques towards creative visual storytelling. In this course, students learn how to expose, compose, and frame images, fundamentals of visual signification processes, movement and continuity, and create dramatic visual sequences. |
|
|
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 the course | |
| 2 | Visual elements and perspective | Block, Chp. 1. |
| 3 | Design, Gestalt principles and visual space. | Block, Chp. 3. |
| 4 | Basics of photographic image production: Exposure, aperture, shutter, and ISO. Assignment I: Photo-essay | Langford, Chp. 3 |
| 5 | The Lens and lens language | Langford, Chp. 5. |
| 6 | Framing and Composition I: Headroom, rule of thirds, camera angles, and safe areas. | Zettl, Chp. 6. |
| 7 | Framing and Composition II: Shot types, shot sizes, aspect ratios, foreground-background relation. Assignment II: Camera-person exercise | Brown, Chp. 2 (Visual language). |
| 8 | The scene: Line of axis, 30 degrees rule, eyeline match, and continuity. | |
| 9 | The sequence: Shot, scene, sequence, and diegesis Assignment III: Auto-portrait | Zettl, Chp. 14. |
| 10 | Image, Time, Space: Continuity and Visual Narration. | Brown, Chp. 5 (Cinematic continuity). |
| 11 | Introduction to color: Vocabulary and theory. Introduction to the project (1 minute silent film). | Block, Chp. 6. |
| 12 | Introduction to lighting sources and approaches. Project idea development. | Zettl, Chp. 3. |
| 13 | Project study continued | |
| 14 | Project Previews | |
| 15 | Project Presentations | |
| 16 | Semester Review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Bruce Block, The Visual Story, Focal Press, 2008 ISNB: 978-0240807799
Herbert Zettl, Sight, Sound, Motion: Applied Media Aesthetics, 6th ed., 2011 ISBN: 978-1305578906
Michael Langford, Basic Photography, Seventh Edition-Focal Press, 2000 ISBN: 978-0240515922
Blain Brown, Cinematography Theory and Practice: Image Making for Cinematographers, Directors, and Videographers, Focal Press, 2002. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
15
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
45
|
| Presentation / Jury | ||
| Project |
1
|
40
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
2
|
60
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
40
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
4
|
64
|
| Study Hours Out of Class |
10
|
3
|
30
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
3
|
15
|
45
|
| Presentation / Jury |
0
|
||
| Project |
1
|
39
|
39
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
210
|
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. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
X | ||||
| 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. |
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
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