CDM 211 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Film Seminar I: Narrative Forms and Styles

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 211	Fall	3	0	3	4

Prerequisites	None
Course Language	English
Course Type	Required
Course Level	First Cycle
Mode of Delivery	-
Teaching Methods and Techniques of the Course	-
National Occupation Classification	-
Course Coordinator	-
Course Lecturer(s)	Yrd. Doç. Dr. Derya ÖZKAN
Assistant(s)	-

Course Objectives	Film Seminar I: Narrative Forms and Styles is a foundational course that introduces the students to the development of narrative forms and styles in cinema from the beginnings to the end of the 1960s.
Learning Outcomes	The students who succeeded in this course; Discuss the development of narrative forms and styles in cinema in a historical context and continuum. Discuss the social contexts and historical moments surrounding various narrative approaches and styles in cinema. Evaluate aesthetic styles and narrative techniques that shaped the historical development of cinema. Identify the narrative forms and representational regimes that historically defined various genres and movements in modern cinema Explain the development of film language and film as a narrative form.
Course Description	Film Seminar I: Narrative Forms and Styles offers an overview of major schools in film history and explores the development of film language. The course aims to help students develop a historical appreciation of moving images, their narrative, documentary, and experimental forms. Students will acquire a critical, technical, and aesthetic vocabulary, and analytic skills to watch, describe, and analyze films.
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
2	Precursors of Cinema Early Cinema Werner Nekes - Film before Film (1986) Lumiere Brothers (1895, 1896) Workers leaving the factory Arrival of a Train at La Ciotat Alice Guy-Blaché – The Cabbage Fairy (1896) George Méliès - Voyage to the Moon (1902) Thomas Edison - The Great Train Robbery (1903)	Pages 6-23 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr.
3	Early Documentary: Narrative Non-Fiction Staged reality, narrative structure applied to documentary form, the "documentary" as constructed story. Robert J. Flaherty - Nanook of the North (1922)	Pages 86-91 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr.
4	The Birth of Narrative Continuity Rise of cross-cutting, continuity editing, and the feature-length narrative; the birth of film language. D.W. Griffith The Birth of a Nation (1915) Intolerance (1916)	Kristin Thompson & David Bordwell, 2021 (5th Edition) “D.W. Griffith and the Feature Film” in Film History: An Introduction. McGraw-Hill. Tom Gunning. 2009. “Narrative Discourse and the Narrator System," in Leo Braudy & Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings. Oxford University Press, (7th edition), pp. 461–472.
5	Early Avantgarde I: German Expressionism Distorted mise-en-scène, psychological subjectivity, and stylization as narrative device. Fritz Lang, Metropolis (1927)	pp. 192-204 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. Anton Kaes “Weimar Cinema. The Predicament of Modernity” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 59-77.
6	Early Avantgarde II: Soviet Montage - Vertov and Eisenstein Eisenstein, Vertov, Pudovkin; editing as ideological and narrative construction. Dziga Vertov - The Man with the Movie Camera (1929) Sergei M. Eisenstein - Battleship Potemkin (1925)	Denise J. Youngblood “Soviet Cinema: The Old and the New” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.41-58. Pages 92-94 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr.
7	Early Avantgarde III: Surrealism and the Attack on Narrative Logic Luis Buñuel Un Chien Andalou (1929) L'Age d'Or (1930) In-class Writing Assignment	Rudolf Kuenzli “Dada and Surrealist Film” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 78-96. Tony Richardson “The films of Luis Bunuel” Sight and Sound; Jan 1, 1954; 23, 3; pg. 125.
8	MIDTERM WEEK
9	Classical Hollywood Narration: The Studio System and Genre Continuity editing and the invisible style; genre as narrative system. Michael Curtiz, Casablanca (1942) Howard Hawks, Bringing Up Baby (1938) Douglas Sirk, Imitation of Life (1959)	Bordwell "Classical Hollywood Cinema: Narrational Principles and Procedures," in Philip Rosen, ed., Narrative, Apparatus, Ideology (Columbia UP, 1986), pp. 17–34. Thomas Schatz "The Whole Equation of Pictures," in Braudy & Cohen's Film Theory and Criticism.
10	Italian Neo-realism Post-second-world-war rupture with studio narration; location shooting, non-professional actors, social realism. Vittorio de Sica - Bicycle Thieves (1948)	Peter Bondanella “From Italian Neorealism to the Golden Age of Cinecittà” in European Cinema (Ed. Elisabeth Ezra) (2004), pp.119-138. Richard Winnington, “Bicycle Thieves” Sight and Sound; Mar 1, 1950; 19, 1; pg. 26.
11	Japanese Modern Cinema Alternative narrative grammars: stillness, ellipsis, and cultural specificity. Yasujirō Ozu, Tokyo Story (1953)	Dennis J. Konshak “Space and Narrative in Tokyo Story" Film Criticism Vol. 4, No. 3 (Spring, 1980), pp. 31-40.
12	Nouvelle Vague Jump cuts, self-reflexivity, and the collapse of classical continuity; personal narration and modernist form. Jean-Luc Godard – À bout de soufflé (1960) François Truffaut, The 400 Blows (1959)	Pages 576-580 from NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. Jefferson Kline, “The French New Wave” in European Cinema (Ed. Elisabeth Ezra) (2004), pp. 157-175.
13	Direct Cinema and Cinéma Vérité The observational mode D.A. Pennebaker, Dont Look Back (1967) Jean Rouch, Chronicle of a Summer (1961)	Charles Musser “Cinema Verite and the New Documentary” in NOWELL-SMITH, G. (1999). The Oxford history of world cinema. Oxford, Oxford Univ. Pr. pp. 527-537. Charles Warren “Cinema Direct and Indirect” in American Documentary, 1960–1975. Eds. C. Lucia, R. Grundmann, A. Simon. Wiley & Sons, Inc. 2015, pp. 56-71.
14	Final Project
15	Semester review
16	Semester review

Course Notes/Textbooks

Suggested Readings/Materials

NOWELL-SMITH, G. (1999) The Oxford History of World Cinema. Oxford University Press.

Ezra, Elisabeth (Ed) (2004) European Cinema. Oxford University Press.

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

Weighting of Semester Activities on the Final Grade	3	100
Weighting of End-of-Semester Activities on the Final Grade
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	3	48
Laboratory / Application Hours	16		0
Study Hours Out of Class	13	2	26
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			0
		Total	120

#	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.	-	-	-	-	-
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).	X	-	-	-	-
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.	-	-	-	-	-