FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 404 | Course Introduction and Application Information
| Course Name |
Fiction Film Studio
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 404
|
Fall/Spring
|
2
|
2
|
3
|
5
|
| Prerequisites |
|
|||||||
| Course Language |
English
|
|||||||
| Course Type |
Elective
|
|||||||
| Course Level |
First Cycle
|
|||||||
| Mode of Delivery | - | |||||||
| Teaching Methods and Techniques of the Course | DiscussionQ&AApplication: Experiment / Laboratory / WorkshopLecture / Presentation | |||||||
| Course Coordinator | - | |||||||
| Course Lecturer(s) | - | |||||||
| Assistant(s) | - | |||||||
| Course Objectives | This course aims to give the students the specialized skills needed to act as a film director on a film set. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course focuses on the role, craft and skills that are necessary for a film director. Evaluation will be based on studio critique, assignments and projects. |
|
|
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 to the course | Short films screening |
| 2 | Script Development Dramatic writing - Characterization - Story Arch - Conflict - Action vs. Dialogue - Synopsis, Treatment, Screenplay | Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 2: Elements of Story”, p. 31 -79 |
| 3 | Basics of Dramatic Structures The “Freytag pyramid” - Basic Types of Conflict - Traditional Dramatic Structures: Five Plot Points - Objectives, Motivations and Obstacles - Diegesis - Character Building - Plot and Character-driven Storytelling Techniques - Dramatic Arch and Latent Expectations | Mike Figgis, The 36 dramatic situations for film Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 2: Elements of Story”, p. 79 -135 |
| 4 | Pitching Session - In-Class Presentation | Synopsis Assignment Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 1 edition, “Part 3: The Principles of Story Design”, p. 135 - 303 |
| 5 | Scriptwriting and Film Language Shot/Scene/Sequence - Shot sizes - Framing - Camera Angles - Color and Contrast - Sound Design - Rhythm and Pace - Narrative Space - Visualizing the Action - Action/ Re-Action - Blocking and Camera Movements - Continuity - Lighting | David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 3: Narrative as a Formal System” Treatment Assignment |
| 6 | Preproduction I : Working with the Actors Audition - Casting - Working with non-actors and actors - methods and rehearsals - Production Planning - Production Crew Functions and Organization | David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 4: The Shot: Mise-en-Scene” First draft of the Script Assignment |
| 7 | Preproduction II: Working on the Script Script Breakdown - Lined Script - Color Coding - Stripboard - Storyboard - Location Scouting | David Bordwell and Kristin Thompson, Film Art: An Introduction, “Chapter 4: The Shot: Cinematography” |
| 8 | Production Dossier Presentation and Discussion | Assignment: Production Dossier |
| 9 | Production I Raw Footage Presentation, Analysis, and Discussion | |
| 10 | Production II Raw Footage Presentation, Analysis, and Discussion | Raw Footage Assignment |
| 11 | Post-Production I Rough Cut Scenes Presentation, Analysis, and Discussion | |
| 12 | Post-Production II Rough Cut Scenes Presentation, Analysis, and Discussion - Sound Design | Rough Cut Assignment |
| 13 | Post-Production III Fine cuts Presentation and Discussion - Audio Sweetening - Color Grading | |
| 14 | Publicity Film Festivals and Circulation - Promotion Materials - Posters, Press releases and Stills | |
| 15 | Final Cuts Presentation - Jury | Final Project and Promotion Plan Assignment |
| 16 | Review of the Semester |
| Course Notes/Textbooks | Robert McKee, Story: Substance, Structure, Style and the Principles of Screenwriting, ReganBooks; 2005 ISBN: 978-0413715609 David Bordwell and Kristin Thompson, Film Art: An Introduction, University of Wisconsin Press, 2010 ISBN: 978-0-07-338616-4 |
| Suggested Readings/Materials | Mike Figgis, The 36 dramatic situations for film, Faber & Faber, ISBN: 978-0571305049 |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application |
1
|
15
|
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
35
|
| Presentation / Jury |
1
|
20
|
| Project |
1
|
20
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
60
|
| Weighting of End-of-Semester Activities on the Final Grade |
2
|
40
|
| Total |
ECTS / WORKLOAD TABLE
| 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 |
10
|
2
|
20
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
4
|
10
|
40
|
| Presentation / Jury |
1
|
12
|
12
|
| Project |
1
|
14
|
14
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
150
|
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. |
|||||
| 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). |
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. |
|||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
NEWS |ALL NEWS
"Working with Found Footage" Workshop Organized with Zeyno Pekünlü
Artist, director, activist and academician Zeyno Pekünlü was the guest of CDM232: Digital Film Studio II.
CDM senior year student Ecem has been selected to the Animation category at Adana Altın Koza Film Festival
CDM 4th-grade student Ecem Çörtle has been selected as a finalist in the National Student Films category of the 30th International Adana
CDM graduate Eylül Berivan Kızılırmak has been accepted to the Cologne Academy of Media Arts
CDM graduate Eylül Berivan Kızılırmak has been accepted to the master's program at the Academy of Media Arts Cologne (Kunsthochschule für Medien Köln).
Traditionalistic CDM End of Year Exhibition EPI.LOG took place in FC Studios
Cinema and Digital Media End of Year Exhibition EPI.LOG 2023, organized as part of IUE Faculty of Communication Exhibition "FC-EX 2023", was
IUE Faculty of Communication Advisory Board members visited our Faculty and Studios on June 22, 2023
IUE Faculty of Communication Advisory Board members Andreas Treske, Ayşe Matay, Barbaros Görgü, Dilek Gappi, Elif Demirci İşleğen, Emine Uysal Berger, Murat
Ataberk awarded at the İFSAK 43rd National Short Film and Documentary Competition
Our third-year student, Ataberk Eyolcu, returned from the 43rd National Short Film and Documentary Competition of İFSAK (Istanbul Photography and Cinema Amateurs
Our third-year CDM student Fikret Başar Kaya was at the 42nd Istanbul Film Festival
Our third year CDM student Fikret Başar Kaya participated as a Young Jury at the 42nd Istanbul Film Festival held on April
CDM hosted Dina Iordanova
Prof. Dina Iordanova gave a speech titled Olympics of Film: Dynamics of international film competitions on Thursday, January 5, 2023, in D002 at Izmir