CDM 305 | Course Introduction and Application Information

Course Name
Turkish Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 305
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives To introduce the students the emergence and transformation of the film industry in Turkey from a historical perspective
Course Description The students who succeeded in this course;
  • identify the major movements, waves, and periods in the history of cinema in Turkey.
  • discuss the fundamental issues on the current state of the film industry in Turkey.
  • discuss the major Turkish films and filmmakers within a historical and artistic context.
  • apply their knowledge on cinema in Turkey to the analysis of newly produced films.
  • define the differences between national film industry and transnational filmmaking practices.
Course Content The course will include the following topics and related discussions: Historical development and transformation of the film industry in Turkey, leading filmmakers and their films, identity, politics and transnationalism issues, major debates on the history of cinema in Turkey. ACADEMIC CAUTION Academic honesty: Plagiarism, copying, cheating, purchasing essays/projects, presenting some one else’s work as your own and all sorts of literary theft is considered academic dishonesty. Under the rubric of İzmir University of Economics Faculty of Communication, all forms of academic dishonesty are considered as crime and end in disciplinary interrogation. According to YÖK’s Student Discipline Regulation, the consequence of cheating or attempting to cheat is 6 to 12 months expulsion. Having been done intentionally or accidentally does not change the punitive consequences of academic dishonesty. Academic honesty is each student’s own responsibility. Plagiarism is the most common form of academic dishonesty. According to the MerriamWebster Online Dictionary, to plagiarize means to steal and pass off (the ideas or words of another) as one’s own. The easiest and most effective way to prevent plagiarism is to give reference when using someone else’s ideas, and to use quotation marks when using someone else’s exact words. A detailed informative guideline regarding plagiarism can be found here.

 



Course Category

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

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction
2 How to approach to the history of “Turkish national cinema”? Bullfight in Spain, Lumiere Brothers Napoleon, Abel Gance Arrival of a Train at La Ciotat, Lumiere Brothers World Cinema, Coen Brothers, 2007. Dilek Kaya Mutlu, “The Russian Monument at Ayastefanos (San Stefano): Between Defeat and Revenge, Remembering and Forgetting”, Middle East Studies 43:1 (2007); Savaş Arslan, “Introduction”, in Cinema in Turkey: A New Critical History, Oxford University Press: 2011.
3 Production and movie-going in Turkey before 1950 Aysel Bataklı Damın Kızı, Muhsin Ertuğrul (1935) Kahveci Güzeli, Muhsin Ertuğrul (1941) Nezih Erdoğan “The Spectator in the Making: Modernity and Cinema in Istanbul, 1896-1928” in Orienting Istanbul: Cultural Capital of Europe? Deniz Göktürk, Levent Soysal and İpek Türeli (eds.), Routledge: 2010; Savaş Arslan “Pre-Yeşilçam: Cinema in Turkey until the Late 1940s”, in Cinema in Turkey: A New Critical History, Oxford University Press: 2011.
4 Early masters of a late industry: The “cinema artists” generation Kanun Namına, Lütfi Akad (1952) Düşman Yolları Kesti, Osman Seden (1959) Savaş Arslan, “Early Yeşilçam: The Advent of Yeşilçam in the 1950s” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011; Alim Şerif Onaran, “I. Bölüm (1916-1962)” in Lütfi Ö. Akad, Afa: 1990.
5 Movements and waves: Social realism, new realism and national cinema Susuz Yaz, Metin Erksan (1963) Bir Türk’e Gönül Verdim, Halit Refiğ (1969) Umut, Yılmaz Güney (1970) Kurtuluş Kayalı, Metin Erksan Sinemasını Okumayı Denemek, Dost: 2004, pp. 77-90; Halit Refiğ, “En Doğru Yargılayıcı Tarihtir” in Ulusal Sinema Kavgası, Dergâh: 2009.
6 Yeşilçam I: Production and distribution Samanyolu, Orhan Aksoy (1967) Umut Dünyası, Safa Önal (1973) Aşk Filmlerinin Unutulmaz Yönetmeni, Yavuz Turgul (1990) Nilgün Abisel, “Türk Sinemasında Film Yapımı Üzerine Notlar” in Türk Sineması Üzerine Yazılar, Phoenix: 2005; Nezih Erdoğan, “Yeşilçam’da Beden ve Mekânın Eklemlenmesi Üzerine Notlar”, Doğu Batı 2 (1998).
7 Yeşilçam II: Genres and narration Hıçkırık, Orhan Aksoy (1965) Kilink İstanbul’da, Yılmaz Atadeniz (1967) Dünyayı Kurtaran Adam, Çetin İnanç (1982) Nezih Erdoğan, “Narratives of Resistance: National Identity and Ambivalance in the Turkish Melodrama between 1965 and 1975”, Screen 39:3 (1998); Paul Willemen, “The Zoom in Popular Cinema: A Question of Performance”, Inter-Asia Cultural Studies (2013).
8 Review of midterm papers
9 Migration and urbanization Gurbet Kuşları, Halit Refiğ (1964) Gelin, Lütfi Akad (1973) Sultan, Kartal Tibet (1978) Güneşi Gördüm, Mahsun Kırmızıgül (2009) Gönül Dönmez-Colin, “Migration, Dis/Misplacement and Exile”, in Turkish Cinema: Identity, Distance and Belonging, Reaktion Books: 2008.
10 Political cinema Yol, Yılmaz Güney (1981) Güneşe Yolculuk, Yeşim Ustaoğlu (1998) (Court documents and censorship reports)
11 Women and gender Vurun Kahpeye, Orhan Aksoy (1964) Dul Bir Kadın, Atıf Yılmaz (1985) Zenne, Caner Alper and Mehmet Binay (2011) Gönül Dönmez-Colin, “Gender, Sexuality and Morals in Transition”, in Turkish Cinema: Identity, Distance and Belonging, Reaktion Books: 2008.
12 New Turkish Cinema(s) I İstanbul Kanatlarımın Altında, Mustafa Altıoklar (1996) Üçüncü Sayfa, Zeki Demirkubuz (1998) Vizontele, Yılmaz Erdoğan ve Ömer Faruk Sorak (2000) Zahit Atam, “Critical Thoughts on the New Turkish Cinema”, in Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar, Cambridge Scholars Publishing: 2009.
13 New Turkish Cinema(s) II Korkuyorum Anne, Reha Erdem (2004) Bal, Semih Kaplanoğlu (2009) 3 Maymun, Nuri Bilge Ceylan (2008) Asuman Süner, “Horror of a Different Kind: Dissonant Voices of the New Turkish Cinema”, Screen 45:4 (2004).
14 Cinema in Turkey in times of mobility and transnationalism Mercedes Mon Amour, Tunç Okan (1987) Pazar: Bir Ticaret Masalı, Ben Hopkins (2007) Auf Der Anderen Seite, Fatih Akın (2007) Nejat Ulusay, “A Transformational Experience within the Contexts of ‘National’ and ‘Transnational’: The Case of Turkish Cinema”, in Imaginaries Out of Place: Cinema, Transnationalism and Turkey, Gökçen Karanfil and Serkan Şavk (eds.), Cambridge Scholars Publishing: 2012; Deniz Bayrakdar “Introduction: ‘Son of Turks’ claim: ‘I’m a child of European Cinema”, in Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar, Cambridge Scholars Publishing: 2009.
15 Evaluation of the term
16 Review of the Semester  

 

Course Notes/Textbooks Weekly reading materials.
Suggested Readings/Materials Umut Tümay Arslan, Mazi Kabrinin Hortlakları: Türklük, Melankoli ve Sinema, Metis: 2010.  

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
4
90
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

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

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Course Hours
Including exam week: 16 x total hours
16
3
48
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
4
6
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
120

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1 To develop the habit of critical thinking in areas of cinema and digital media. X
2 To be able to comprehend and discuss theories, concepts and ideas that form the basis of cinema and digital media. X
3 To know and understand practices in areas of cinema and digital media as creative and/or business processes. To be able to see these processes from cultural and historical perspectives. X
4 To cultivate awareness in the inter- and multi-disciplinary nature of cinema and digital media, thus developing a dynamic and flexible professional character capable of operating and communicating across a wide range of subject areas. X
5 To develop an understanding of the unity of theory of practice and practice of theory. X
6 To observe norms of work ethic and a thoroughgoing professional ethic. X
7 Endowed with the virtues and skills of being self-disciplined, self-critical and self-managerial, to be able to both work independently and as member of a team. X
8 To have the fundamental knowledge and ability to use the technical equipment and software programmes in the areas of cinema and digital media and to possess advanced level computing and IT skills. (“European Computer Driving Licence”, Advanced Level) X
9 To be able to follow developments in new technologies of cinema and digital media, as well as new methods of production, new media industries, and new theories; and to be able to communicate with international colleagues in a foreign language (“European Language Portfolio Global Scale”, Level B1). X
10 To be able to use a second foreign language at the intermediate level.
11 To be able to use and develop the acquired knowledge and skills in a lifelong process aimed at the achievement personal and social goals

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