FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 431 | Course Introduction and Application Information
| 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
|
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| Course Language |
English
|
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| Course Type |
Elective
|
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| Course Level |
First Cycle
|
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| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionProblem SolvingQ&ALecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | - | |||||
| Assistant(s) | - | |||||
| Course Objectives | This class examines the changes that occurred in the production and consumption of moving images in the process of digitization. It focuses on various forms of moving images, including Hollywood blockbusters, independent cinema, video installations, and documentaries with an objective to understand how digitalization impacts them. It further aims to analyze the cultural effects of novel forms of media that emerge as a result of digitalization. We will also assess how digitalization transforms the engagement of the audience with moving images. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course analyzes the transformation of moving images through the process of digitization. We will examine how digitization impacts the production and audience use of motion pictures, as well as focusing on the construction of new socio-cultural identities in the global mediascape through digital moving images. |
|
|
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 | The Digital Cinema: Form and Content | Grainge, P. (2018). Colouring the past: Pleasantville and the textuality of media memory. In Memory and popular film. Manchester University Press. 20-45. |
| 2 | Postmodern Film | Setka, S. (2015). Bastardized History: How Inglourious Basterds Breaks through American Screen Memory. Film & New Media, 3(1), 141-169. |
| 3 | Hyperlink Realism | Krems, J. A., & Dunbar, R. I. (2013). Clique size and network characteristics in hyperlink cinema. Human Nature, 24(4), 414-429. |
| 4 | Digitization and Futurism | Virginás, A. (2017). Gendered transmediation of the digital from S1m0ne to Ex Machina:‘visual pleasure’reloaded?. European Journal of English Studies, 21(3), 288-303. |
| 5 | Digital Documentaries and Digital Affects | Gobel, A. (2019). Towards Affective Listening: Hearing Corporeal Memories in Cameraperson and Stories We Tell. The Ohio State University). |
| 6 | Intercultural Dialogues in Global Film | Haidar, C. (2011). An Investigation into the Meaning of Locally Produced Entertainment Media to Lebanese Women. |
| 7 | Animation | Prasch, T. (2008). Persepolis (2007). Film & History: An Interdisciplinary Journal of Film and Television Studies, 38(2), 80-82. |
| 8 | Smartphone Feature Films | Eriksson, P. E., & Eriksson, Y. (2015). Syncretistic images: iPhone fiction filmmaking and its cognitive ramifications. Digital Creativity, 26(2), 138-153. |
| 9 | Genre and Gender in Digital Features | Taubin, A. (2019). The Highest Stakes. Film Comment, 55(4), 60-62. |
| 10 | Musicals and Digital Imageries | Sticchi, F. (2018). Inside the “Mind” of Llewyn Davis: Embodying a Melancholic Vision of the World. Quarterly Review of Film and Video, 35(2), 137-152. |
| 11 | Time in New Digital Cinema | Harte, T. (2005). A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal. Slavic Review, 64(1), 43-58. |
| 12 | Genre Hybridity in the Digital Age | Gulam, J. (2019). Breaking out and fighting back: Female resistance in the Trump-era horror film. In Make America Hate Again (pp. 57-66). Routledge. |
| 13 | Digital Art | Harvey-Davitt, J. (2016). Conflicted selves: the humanist cinema of Nuri Bilge Ceylan. New Review of Film and Television Studies, 14(2), 249-267. |
| 14 | Blockbusters in the Digital Age | Boulware, T. (2016). " Who Killed the World": Building a Feminist Utopia from the Ashes of Toxic Masculinity in Mad Max: Fury Road. Mise-en-scène| The Journal of Film & Visual Narration, 1(1). |
| 15 | Review of the semester | |
| 16 | Final Exam |
| Course Notes/Textbooks | The course uses the sources that are listed above in the weekly subjects and related preparations. |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
20
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques |
3
|
30
|
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam |
1
|
50
|
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
50
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
50
|
| 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
|
2
|
28
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
3
|
4
|
12
|
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
0
|
||
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
1
|
32
|
32
|
| Total |
120
|
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. |
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. |
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| 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. |
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| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
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| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
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| 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). |
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| 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. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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