CDM 403 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Experimental Film Studio

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 403	Fall/Spring	2	2	3	5

Prerequisites

CDM 232 To succeed (To get a grade of at least DD)

Course Language

English

Course Type

Elective

Course Level

First Cycle

Mode of Delivery

-

Teaching Methods and Techniques of the Course

Discussion
Q&A
Lecture / Presentation
Field work/Application

National Occupation Classification

-

Course Coordinator

-

Course Lecturer(s)

-

Assistant(s)

-

Course Objectives	This course aims to introduce and familiarize the students with a wide range of diverse practices in cinema through examples of historical and contemporary artists works, and develop their creative filmmaking skills through experimental techniques and limited resources.
Learning Outcomes	The students who succeeded in this course; explain the mechanisms of diverse practices in the realm of cinema compare the applications of various forms and techniques in cinematic practices and theories discuss the historical, technical and cultural developments leading to such practices identify original and distinctive artistic work and experimental techniques within narrative filmmaking apply various experimental visual and narrative strategies to their own works
Course Description	This course aims to familiarize the students with diverse practices in cinema. Examples of avant-garde, experimental and found footage cinema will be screened and its theories and artist practices will be discussed in class.
Related Sustainable Development Goals

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

Week	Subjects	Related Preparation
1	Introduction- Short film ‘Meshes of the Afternoon’ (1943) by Maya Deren will be screened.
2	Thinking in form I - Audiovisual experiments in narrative films and music videos. Excerpts from the films of A. Tarkovsky, C. Reygadas, P. Grandrieux, X. Dolan, L. Carax, M. Figgis will be screened.	Berger, John. Ways of Seeing (1990, Penguin) p. 55-78
3	Thinking in form II - Experimenting with the narrative, looking for new forms of storytelling. ‘Zayiat’ (2013) by Deniz Tortum will be screened. Excerpts from the films of D. Lynch, M. Haneke, M. Frammartino, J. Rosales will be screened.	Barthes, Roland. Camera Lucida (1982, Hill and Wang) p. 61-92
4	Auto-fiction I - Reconstructing the self in a fictional world. In what ways directors include themselves in their films. Excerpts from the films of N.B. Ceylan, W. Allen, Kim Ki Duk, J. Panahi, N. Moretti, A. Varda will be screened.	Meg Jensen. “How Art Constitutes the Human: Aesthetics, Empathy and the Interesting in Autofiction” in Dix, Hywel. Autofiction in English (2018, Springer International).
5	Auto-fiction II - Allegory of the self. In what ways imaginary worlds can collide with directors’ own reality. Genco - Ali Kemal Çınar will be screened.	Dix, Hywel. Autofiction in English (2018, Springer International)’ p. 23-46..
6	Essayist approach - Narration and monologue. Visual and narrative strategies of contemporary essayist filmmaking. Excerpts from the films of J-L. Godard, C. Marker, G. Debord will be screened.	Timothy Corrigan “Essayism and Contemporary Film Narrative” in Papazian, Elizabeth; Eades, Caroline. The Essay Film: Dialogue, Politics, Utopia (2016, Wallflower Press)
7	Spatial cinema - How to tell the story of places? Excerpts from the films of G. Rosi, F. Wiseman, and D. Tortum will be screened.	Ödev ve final projesi konularınızı seçin.
8	Documentary in action I - Recording the perishable. Creative approaches and visual strategies in documentary filmmaking. Excerpts from the films of D. Vertov, J. Oppenheimer, A. Weerasethakul, M. Glawogger and W. Herzog will be screened.	Wilma de Jong; Erik Knudsen; Jerry Rothwell. “Life does not tell stories: structuring devices in documentary filmmaking” in Creative Documentary - Theory and Practice, (2013, Routledge)
9	Documentary in action II - Resistance of the image. Creative approaches and contemporary narrative strategies in documentary filmmaking. Distant Constellation - Shevaun Mizrahi will be screened. Excerpts from the films of P. Costa will be screened.
10	Talking heads I - Truth or words. Creative methods of using interviews. Excerpts from the films of J. Rouch, L. Malle, K. Kieslowski will be screened.	Therese Davis “Reading the Face” in The Face on the Screen - Death, Recognition and Spectatorship (2004, Intellect Books)
11	Talking heads II - Fiction or words. Using interviews in fictional narrative cinema. 9 - Umit Unal will be screened. Excerpts from the films of A. Kiarostami, A. Yılmaz will also be screened.	Therese Davis. The Face on the Screen - Death, Recognition and Spectatorship (2004, Intellect Books) p. 118-135.
12	Queer forms for queer narratives - Excerpts from the films of E Williams, D. Jarman will be screened.	B. Ruby Rich “New Queer Cinema” Village Voice, 1992
13	Found footage and the power of the archive - Excerpts from the films of M. Arnold, J. M. Salles, S. de Sousa Dias will be screened.
14	Screening of students’ projects.
15	Review of the semester
16	Review of the semester

Course Notes/Textbooks

Suggested Readings/Materials

Barthes, Roland. Camera Lucida (1982, Hill and Wang) 978-0374532338 / Berger, John. Ways of Seeing (1990, Penguin 978-0140135152 / Sontag, Susan. Regarding The Pain of Others (2004, Penguin)978-0141012377 / Debord, Guy. The Society of the Spectacle (1995, Zone Books) 978-0942299793 / Ranciere, Jacques. Emancipated Spectator (2009, Verso) 978-1844677610 / Ranciere, Jacques. The Intervals of Cinema (2014, Verso)978-1781686065 / Papazian, Elizabeth; Eades, Caroline. The Essay Film: Dialogue, Politics, Utopia (2016, Wallflower Press) 978-0231176958

Semester Activities	Number	Weigthing
Participation	1	20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments	1	30
Presentation / Jury
Project	1	50
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	2	50
Weighting of End-of-Semester Activities on the Final Grade	1	50
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	2	32
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16	2	32
Study Hours Out of Class	14	1	14
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments	1	24	24
Presentation / Jury			0
Project	1	48	48
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam			0
		Total	150

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