CDM 431 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Moving Images in a Digital Age

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 431	Fall/Spring	3	0	3	4

Prerequisites	None
Course Language	English
Course Type	Elective
Course Level	First Cycle
Mode of Delivery	-
Teaching Methods and Techniques of the Course	Discussion Q&A Critical feedback
National Occupation Classification	-
Course Coordinator	-
Course Lecturer(s)	Öğr.Gör.Dr. KADİR KAYSERİLİOĞLU
Assistant(s)	-

Course Objectives	This course examines the changes that moving images undergo during the process of digitalization. It explores the impact of digitalization on the production of moving images and their consumption by audiences, while also analyzing the new sociocultural viewer identities that emerge as a result of digitalization.
Learning Outcomes	The students who succeeded in this course; Learn about the changes caused by digitalization in the production of moving images and their consumption by audiences. Able to distinguish the effects of digitalization on different types of moving images. Learn about the changes in the consumption of moving images by audience groups with digitalization. Gain knowledge about the interactions between technological developments, the emergence of new types of moving images, and new aesthetic understandings. Understand the global effects of digital moving images and their contributions to the formation of new global communities. Discuss the effects of digitalization on the formation and transformation of sociocultural identities.
Course Description	This course addresses the changes in the production and consumption of moving images during the process of digitalization. Throughout the course, it examines how fields such as American cinema, video art, independent cinema, contemporary art, documentary, computer games, and internet culture have been affected by digitalization and the various directions these effects have taken. By discussing the cultural impact of new types of moving images that have emerged as a result of digitalization, the course aims to foster a different perspective on today's media and visual culture.
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
2	What Is An Image? From Vertov’s Kino-eye To Post-Internet Images	Dziga Vertov – Kino-eye
3	Internet Culture and The Role of Moving Images	Henry Jenkins - If It Doesn't Spread, It's Dead (Part One): Media Viruses and Memes / Arthur Jones – Feels Good Man
4	Streaming Culture and It’s Effects On Cinema	Girish Shambu – The New Cinephilia / Bo Burnham - Inside
5	Participatory Culture and Art of Participation	Jeremy Deller – The Battle of Orgreave
6	Internet Arts: Webart, Forumart & Internet Aesthetics	Olga Goriunova - Art Platforms and Cultural Production on the Internet / Assignment I
7	Video Game Art I: Modding, Machinima and Performance	Alex Chan – The French Democracy / Total Refusal – Hardly Working
8	Video Game Art II: Artgames and Worldbuilding	Carl Burton - I.S.L.A.N.D.S: Non-Places / David OReilly - Everything
9	Midterm
10	Glitch Feminism and Digital Communes	Legacy Russell – Glitch Feminism: A Manifesto / Roland Barthes – Camera Lucida
11	Collective Image Making: Liminal Spaces and Weirdcore Aesthetics	Beeswax Games – No Players Online / Dan Erickson – Severance Assignment II
12	Images of Artifical Intelligence	Clement Greenberg – Avant-Garde and Kitsch
13	Aesthetics of Conspiracy Theories: Mockumentaries, Creepypastas & Digital Horror	Mike Wendling – Alt-Right: From 4Chan to the White House / Kerem Karaosmanoğlu - Komplo Teorileri: Disiplinlerarası Bir Giriş
14	Final
15	Presentations and Evaluation
16	Review of the Semester

Course Notes/Textbooks

Suggested Readings/Materials

Robert Fulford - The Triumph of Narrative: Storytelling in the Age of Mass Culture
Clement Greenberg – Avant-Garde and Kitsch
Andy Clarke & Grethe Mitchell – Videogames and Art
Alexander R. Galloway – Gaming: Essays on Algorithmic Culture
Claire Bishop – Artificial Hells
Girish Shambu – The New Cinephilia
Ulus Baker – Beyin Ekran
Shane Denson & Julia Leyda – Post-cinema: Theorizing 21st-Century Film

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

Weighting of Semester Activities on the Final Grade	2	60
Weighting of End-of-Semester Activities on the Final Grade	2	40
Total

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	1	14
Field Work			0
Quizzes / Studio Critiques		4	0
Portfolio			0
Homework / Assignments	1	6	6
Presentation / Jury		6	0
Project	1	18	18
Seminar / Workshop			0
Oral Exam			0
Midterms	1	17	17
Final Exam	1	17	17
		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.	-	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.	-	-	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.	-	-	-	-	-
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.	-	-	-	-	-