CDM 311 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Film Seminar III: Experimental Cinema and Video Art

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 311	Fall	3	0	3	4

Prerequisites	None
Course Language	English
Course Type	Required
Course Level	First Cycle
Mode of Delivery	face to face
Teaching Methods and Techniques of the Course	Discussion Q&A Lecture / Presentation Field work/Application
National Occupation Classification	-
Course Coordinator	-
Course Lecturer(s)	Öğr. Gör. Dr. Kadir Kayserilioğlu
Assistant(s)	-

Course Objectives	The main objective of the course is to teach students the history of experimental cinema, to broaden their vision by screening films they could not otherwise see, to convey the importance of developing experimental methods in cinema, and to provide students with the theoretical grounding needed to produce their own experimental films.
Learning Outcomes	The students who succeeded in this course; Identify creative and experimental works in cinema, video, and new media art. Discuss the diversity of cinema. Discuss examples of experimental cinema in relation to the film institutes that produced them. Compare experimental films within their own historical and socio-cultural contexts. Analyze cinematic works as part of ongoing narrative and technical traditions. Relate and classify all artistic films and new media works they have watched, and explain them conceptually.
Course Description	This is the third part of the film seminar course series. It consists of introducing and screening films that students would not otherwise be able to see. These films are selected from among experimental, artistic, and avant-garde works. Students are expected to prepare a presentation on a topic of their choosing, shoot an experimental film by the end of the semester, and write an analysis essay related to this film. Class participation holds an important place among the assessment criteria.
Related Sustainable Development Goals

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

Week	Subjects	Related Preparation
1	Introduction to the course.
2	Trick Film & Early European Avant-Garde Cinema: Hans Richter, Fernand Léger, Man Ray, Walter Ruttman, Rene Clair
3	American Avant-Garde Cinema: Stan Brakhage, Hollis Frampton, Su Friedrich, Maya Deren, Franz Zwartjes
4	TV Art: Nam June Paik, Dara Birnbaum, Gary Hill
5	Video Art I: Nam June Paik, Martha Rosler, Vito Acconci, Cao Fei, Bill Viola
6	Video Art II (Examples from Turkey): Zeyno Pekünlü, Nil Yalter, Köken Ergün, Ferhat Özgür, Halil Altındere, Hale Tenger
7	Structural Cinema: Sound, Image, Rhythm: James Benning, Volker Schreiner, Marcel Odenbach, Michael Chion, Peter Kubelka
8	Working with Found Footage: Jonathan Caouette, Zeyno Pekünlü, Bruce Conner, Peter Tscherkassky
9	Assignment evaluations and discussion	Assignment I: Student presentations
10	Video Diary, Performance Art, and Film as Performance Document: Chris Marker, Jonas Mekas, Marina Abromovic, Ulay, Takashi İto, Francis Alÿs, Orlan, artur Zmijewski, Santiago Sierra
11	Video Games and Experimental Cinema: Total Refusal, Cory Archangel, Phil Solomon, Theo Triantafyllidis, David OReilly
12	Contemporary Experimentalism - Desktop and Internet Aesthetics I: Nikita Diakur, Jon Rafman, Gazira Babeli	Assignment II: Student presentations
13	Contemporary Experimentalism - Desktop and Internet Aesthetics II: Leho Galibert-Laine, Kara Güt, Razan AlSalah
14	Project Evaluations and Feedback I	Assignment III: Project screenings
15	Project Evaluations and Feedback II
16	Course review	Assignment IV: Uploading projects to the system

Course Notes/Textbooks

Suggested Readings/Materials

Ian Christie. French Avant Garde Film in the Twenties: From Specify to Surrealism. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 37-47. ISBN-10 : 0728702010

Brigit Hein. The Structural Film. Film as Film: Formal Experiment in Film 1910-1975. Arts Council of Great Britain, 1979. 93-107.ISBN-10 : 0728702010

Pavle Levi. Cinema by Other Means. Oxford University Press, 2012.978-0199841400Daniel Morgan. Late Godard and Possibilities of Cinema. University of California Press, 2012.978-0520273313

Ivone Mergulies. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Duke University Press Books, 1996978-0822317234

Bruce Labruce. Bruce LaBruce: Ride, Queer, Ride! Plug in Inc., 1997.ISBN-10 : 0921381123

Kate Ince. Orlan: Millennial Female. Berg, 2000. 99-131ISBN-10 : 1859733344

David LaRocca. The Philosophy of Documentary Film: Image, Sound, Fiction Truth. Lexington Books, 2016,ISBN-10 : 1498504515

Trinh T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Indiana University Press, 2009.ISBN-10 : 0253366038

Semester Activities	Number	Weigthing
Participation	1	20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments	1	80
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	2	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	14	1	14
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments	3	5	15
Presentation / Jury			0
Project	1	43	43
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.	-	-	-	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.	-	-	-	-	-
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.	-	-	-	-	-