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
Oral Exams
Midterm
Final 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
Theoretical 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
Oral Exam
Midterms
Final Exam
    Total
120

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to define and discuss the history, underlying concepts and theories of cinema and digital media.

X
2

To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking.

X
3

To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. 

X
4

To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing.

X
5

To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work.

X
6

To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images.

X
7

To be able to perform specialized tasks for creating digital media narratives with interactive elements.

X
8

To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view.

X
9

To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner.

X
10

To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment.

11

To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

12

To be able to speak a second foreign language at a medium level of fluency efficiently.

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

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