FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 410 | Course Introduction and Application Information
| Course Name |
Transmedia Storytelling
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 410
|
Fall/Spring
|
3
|
0
|
3
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | DiscussionQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | Develop a perspective on telling stories across digital media. Develop skills in interacting with the user (narratee). To be able to relate communication technologies with narrative possibilities. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course is based on the paradigmatic shift in storytelling. It starts out positioning storytelling in digital media as opposed to its more traditional forms. It then introduces cases, such as interactive narratives, of more participatory nature. Work by creative media writers and artists such as Lance Weiler will be studied. Students are expected to bring to the class samples of storytelling in digital media and analyze them in terms of the possibilities they offer. They will produce written work and finally a term project prepared for pitching at the end of semester. |
|
|
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 Transmedia Storytelling | |
| 2 | What is Transmedia Storytelling? Creating a Story | http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html |
| 3 | Transmedia Storytelling principles. Spreadability vs Drillability Continuity vs Multiplicity | http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html |
| 4 | Transmedia Storytelling principles. Immersion vs Extractability Worldbuilding and Seriality Subjectivity and Performance | http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html |
| 5 | Storytelling and Game Design | Kelly McErlean, Interactive Narratives and Transmedia Storytelling Creating Immersive Stories Across New Media Platforms Routledge 2018, (chp. 2) |
| 6 | Participating consumer. Writing with/for the user/reader Metaverse a new universe. | McErlean, (chp.4) |
| 7 | User Narratives | McErlean, (chp.4) 1. homework delivery (synopsis for a transmedia project) |
| 8 | Ramadan Holiday Make-up April 28 | |
| 9 | Transmedia Storytelling in contemporary art | https://www.futurelearn.com/info/courses/transmedia-storytelling/0/steps/27380 https://www.hslu.ch/en/lucerne-school-of-art-and-design/degree-programmes/bachelor/camera-arts/projects/transmedia-storytelling-1/ https://thetheatretimes.com/lance-weiler-on-the-future-of-storytelling-and-the-film-the-last-broadcast/ 2. homework delivery (analysis of a transmedia project) |
| 10 | Creativity and Technology | Marta Boni, World Building - Transmedia, Fans, Industries Amsterdam University Press 2017 |
| 11 | Ideas for a Transmedia Project | McErlean, (chp. 1) |
| 12 | Commemoration of Atatürk, Youth and Sports Day Official Holiday Make-up May 26 | |
| 13 | Designing the Experience 1 | McErlean, (chp. 2) |
| 14 | Designing the Experience 2 | McErlean, (chp. 3) |
| 15 | Project Presentations 1 | Project delivery (script or detailed presentation of the transmedia project) |
| 16 | Project Presentations 2 | Project delivery (script or detailed presentation of the transmedia project) |
| Course Notes/Textbooks | Kelly McErlean, Interactive Narratives and Transmedia Storytelling Creating Immersive Stories Across New Media Platforms Routledge 2018 978-1138638822 Carol Vernallis, Holly Rogers and Lisa Perrott (Edited by), Transmedia Directors - Artistry, Industry and New Audiovisual Aesthetics Bloomsbury 2020 978-1501341007 Marta Boni (Edited by), World Building - Transmedia, Fans, Industries Amsterdam University Press 2017 978-9089647566 |
| Suggested Readings/Materials | Henry Jenkins, Convergence Culture. Where Old and New Media Collide, New York University Press 2008 9780814742952 Jean Baudrillard, Simulacra and Simulations, University of Michigan 1994 978-0472065219 Ali Akay, Postmodern Görüntü, Bağlam Yayıncılık, 978-9756947043 John Berger, Ways of Seeing, Penguin Books, 2018 978-0141035796 Maurizio Lazzarato, Videophilosophy: The Perception of Time in Post-Fordism, Columbia University Press, 2019 978-0231175388 Dal Yong Jin, Understanding Korean Webtoon Culture: Transmedia Storytelling, Digital Platforms and Genres, Hardvard University Asia Center, 2022 978-0674291324 |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
40
|
| Presentation / Jury |
1
|
40
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
20
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
2
|
60
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
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
|
0
|
|
| Study Hours Out of Class |
14
|
4
|
56
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
6
|
12
|
| Presentation / Jury |
1
|
26
|
26
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
8
|
8
|
| 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). |
|||||
| 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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