FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 335 | Course Introduction and Application Information
| Course Name |
Contemporary Cinema in Turkey
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 335
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
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| Course Language |
English
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| Course Type |
Service Course
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| Course Level |
First Cycle
|
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| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce domestic cinema in Turkey as an art form and a popular culture industry since 1990s. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course will focus on the emergence, transformation and current state of contemporary cinema in Turkey. It covers subjects such as political cinema, identity issues, near history, sufism, women and gender, urbanization, transnationalism and short film making. The class time will be used to focus on two select films related to the subject of that week, and to critically assess these films with the help of required materials such as readings and video interviews. |
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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 How to avoid plagiarism | |
| 2 | Revisiting history: Film industry in Turkey until 1990s. | Savaş Arslan, “Introduction” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011, pp. 1-22 |
| 3 | Emergence of a new industry Films: Şerif Gören, Amerikalı (1993) Yavuz Turgul, Eşkiya (1996) | Zeynep Çetin Erus, “Film Endüstrisi ve Dağıtım: 1990 Sonrası Türk Sinemasında Dağıtım Sektörü,” Selçuk İletişim 4 (4), 2007, pp. 5-16. |
| 4 | Emergence of a new cinema Films: Nuri Bilge Ceylan, Mayıs Sıkıntısı (1999) Zeki Demirkubuz, Üçüncü Sayfa (1999) | Geoff Andrew, “Beyond the Clouds: An Interview with Nuri Bilge Ceylan,” Senses of Cinema 32, 2004, http://sensesofcinema.com/2004/feature-articles/nuri_bilge_ceylan/ |
| 5 | Dealing with the near history Films: Çağan Irmak, Babam ve Oğlum (2005) Özcan Alper, Sonbahar (2008) | Laurence Raw, “Çağan Irmak: Yeşilçam Revisited,” same author Six Turkish Filmmakers, Madison, Wisconsin: University of Wisconsin Press, 2017, pp. 89-112. |
| 6 | Issues of identity Films: Handan İpekçi, Büyük Adam Küçük Aşk (2001) Yılmaz Erdoğan and Ömer Faruk Sorak, Vizontele (2001) | Gönül Dönmez-Colin, “Denied Identities,” same author Turkish Cinema:Identity, Distance and Belonging, London: Reaktion Books, 2008, pp. 89-115. |
| 7 | Gender Films: Pelin Esmer, Gözetleme Kulesi (2012) Yeşim Ustaoğlu, Tereddüt (2016) | Eylem Atakav, “Women and New Turkish Cinema,” in Women and Turkish Cinema, Routledge, London and New York, 2013, pp. 108-115. |
| 8 | Sufi influences Films: Derviş Zaim, Cenneti Beklerken (2006) Reha Erdem, Kosmos (2010) | Interview with Derviş Zaim on Cenneti Beklerken, Altyazı 47, 2006, pp. 40-43. |
| 9 | Political cinema Films: Emin Alper, Tepenin Ardı (2012) Emre Yeksan, Körfez (2017) | On the Golf with Emre Yeksan (video discussion) https://www.youtube.com/watch?v=j3rkU53ERl4 |
| 10 | Urban films Films: Mahsun Kırmızıgül, Güneşi Gördüm (2009) Aslı Özge, Köprüdekiler (2010) | Video interview with Aslı Özge on Köprüdekiler https://www.youtube.com/watch?v=VvQt2g5STkE |
| 11 | Blockbuster cinema Films: Selçuk Aydemir, Düğün Dernek (2013) Togan Gökbakar, Recep İvedik 5 (2017) | Murat Akser, “Blockbusters in Turkish Cinema,” Directory of World Cinema: Turkey, Intellect Books, 2013, pp. 124-145. |
| 12 | Transnationalism Films: Fatih Akın, Duvara Karşı (2004) Deniz Gamze Ergüven, Mustang (2015) | Rob Burns, “From Two Worlds to a Third Space: Stereotypy and Hybridity in Turkish-German Cinema,” Gökçen Karanfil and Serkan Şavk (eds.), Imaginaries Out of Place, Cambridge Scholars Publishing, 2013, pp. 56-88. |
| 13 | Short filmmaking Selected short films | Murat Akser, “New Media and Film Festivals in the Middle East,” CINEJ 4.1 (2014), 111-121 |
| 14 | Evaluation of the assignments | |
| 15 | Semester Review | |
| 16 | Final Exam |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Eylem Atakav (ed.), Directory of World Cinema: Turkey, Intellect Books, 2013. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
2
|
30
|
| Presentation / Jury |
1
|
20
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam |
1
|
40
|
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| Weighting of End-of-Semester Activities on the Final Grade |
4
|
100
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
0
|
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
16
|
3
|
48
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
5
|
10
|
| Presentation / Jury |
1
|
8
|
8
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
1
|
18
|
18
|
| Total |
116
|
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. |
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. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
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| 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. |
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| 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. |
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| 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. |
X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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