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. DENİZ CAN TAŞÇI
Assistant(s)	-

Course Objectives	This course examines the transformations that moving images have undergone through the process of digitalization. It investigates the effects of digitalization on the production of moving images and on their consumption by audiences, while also analyzing the new sociocultural audience identities that have emerged as a consequence of digitalization.
Learning Outcomes	The students who succeeded in this course; define the changes caused by digitalization in the production of moving images and in their consumption by audiences distinguish the effects of digitalization on different genres of moving image interpret the changes in the consumption of moving images by audience groups following digitalization analyze the interactions between technological developments, the emergence of new moving image genres and the emergence of new aesthetic approaches evaluate the global effects of digital moving images and their contribution to the formation of new global communities discuss the effects of digitalization on the formation and transformation of sociocultural identities develop an original interpretation of a specific digital moving image object by analyzing it through different theoretical lenses across the semester
Course Description	This course addresses, from an interdisciplinary perspective, the transformations that the process of digitalization has produced in the ways moving images are made, distributed and watched. It examines the aesthetic, technical and sociocultural changes emerging in fields such as cinema, video art, independent production, contemporary art, documentary, computer games, virtual reality and internet culture. Each week is built around the structured viewing of a moving image work and a theoretical discussion conducted on the basis of the evidence students gather during that viewing. Across the semester students follow a single digital moving image object, re-reading it through the conceptual framework of each week, and produce an original video essay at the end of term.
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: Moving Images in the Digital Age	Review of the course syllabus. In-class screening: "Image Autopsy" reel (approx. 20 min): a Lumière actualité, a TikTok video, a Twitch clip and an AI-generated clip.
2	A Short History of Moving Images	Screening: Dziga Vertov, Man with a Movie Camera (1929, 68 min). Reading: Vertov, "Kinoks: A Revolution" (selection from Kino-Eye).
3	The Effects of Digitalization on Genres I – Cinema	Screening: Aleksandr Sokurov, Russian Ark (2002, 96 min; single-take digital cinematography). Reading: Dogme 95, "Vow of Chastity" (1 page). Short screening: Russian Ark behind-the-scenes (approx. 5 min).
4	The Effects of Digitalization on Genres II – Video Art and New Media Art	Reel (approx. 75 min): Martha Rosler, Semiotics of the Kitchen (6 min); Olia Lialina, My Boyfriend Came Back From the War (live walkthrough); Cory Arcangel, Super Mario Clouds; Petra Cortright, VVEBCAM; Hito Steyerl, How Not to Be Seen (16 min); Refik Anadol, Unsupervised; Selçuk Artut, Motifs Extending to Infinity; ha:ar, Benküre.
5	Game Engines, VR and New Forms of Narrative	Reel (approx. 75 min): Total Refusal, Operation Jane Walk (16 min) and Hardly Working (21 min); Cameron Kostopoulos, Body of Mine; Da Costa & Niederhauser, Tulpamancer; Celine Daemen, Songs for a Passerby.
6	New Aesthetics and Narrative Forms	Screening: Bo Burnham, Inside (2021, 87 min). Preparation: each student brings one "content about making content" clip from their own feed.
7	The Digitalized Audience I – Participatory Culture	Screening: Arthur Jones, Feels Good Man (2020, 92 min). Reading: Lee, H-K., "Participatory media fandom working on the disjuncture of global mediascape: a case study of anime fansubbing", Media, Culture & Society.
8	The Digitalized Audience II – Sociocultural Identities	Reel (approx. 45 min): Arthur Jafa, Love Is the Message, The Message Is Death; Martine Syms, Notes on Gesture; Zach Blas, Facial Weaponization Suite; Legacy Russell, Glitch Feminism lecture. Preparation: select a series and collect a corpus of audience comments across platforms (screenshots).
9	Midterm Exam	In-class, handwritten analysis of a previously unseen work.
10	Transmedia Storytelling I	Screening: Arcane, Season 1 Episode 1 (approx. 42 min) and The Animatrix, The Second Renaissance I–II (approx. 17 min). Reading: Jenkins, H., "Transmedia Storytelling 101".
11	Transmedia Storytelling II – Influencers	Screening: Nick Bilton, Fake Famous (2021, 87 min).
12	Alternate Reality Games and Participatory Culture	Reel (approx. 79 min): Kris Straub, Local 58 (complete series); Marble Hornets (selected entries); Kane Pixels, The Backrooms (Found Footage); No Players Online (played live in class).
13	Developing an Original Approach – AI-Generated Images and Project Workshop	Reel (approx. 50 min): Memo Akten, Learning to See; Trevor Paglen, Behold These Glorious Times!; a curated reel on the development of AI-generated video. Followed by 50 min of project consultations.
14	Final Exam	In-class, handwritten analysis and comparative question.
15	Project Presentations and Review	Presentation of Object Dossier video essays (6 min presentation + 3 min defense).
16	Semester Review

Course Notes/Textbooks

Suggested Readings/Materials

Articles and texts:

Lee, H-K. "Participatory media fandom working on the disjuncture of global mediascape: a case study of anime fansubbing." Media, Culture & Society.

Vertov, D. "Kinoks: A Revolution", in Kino-Eye: The Writings of Dziga Vertov.

Dogme 95, "Vow of Chastity" (1995).

Jenkins, H. "Transmedia Storytelling 101".

Steyerl, H. "In Defense of the Poor Image", e-flux journal.

Books:

Ulus Baker, Beyin Ekran; Ferhat Özgür & Nagehan Ç. Bikiç, Belgesel/Kısa Film/Video Sanatı; Mike Figgis, Digital Film-making; Emre Ahmet Seçmen, Neo-Sinema; Claire Bishop, Artificial Hells; Eva Selin, Transmedya Kültürü; Legacy Russell, Glitch Feminism.

Films and moving image works:

Georges Méliès, Le Voyage Dans La Lune (1902); Dziga Vertov, Man with a Movie Camera (1929); Aleksandr Sokurov, Russian Ark (2002); Bo Burnham, Inside (2021); Arthur Jones, Feels Good Man (2020); Screening: Nick Bilton, Fake Famous (2021, 87 min).; Arcane (2021); The Animatrix (2003).

Video and digital works:

Martha Rosler, Semiotics of the Kitchen; Olia Lialina, My Boyfriend Came Back From the War; Cory Arcangel, Super Mario Clouds; Petra Cortright, VVEBCAM; Hito Steyerl, How Not to Be Seen; Refik Anadol, Unsupervised; Selçuk Artut, Motifs Extending to Infinity; ha:ar, Benküre; Total Refusal, Operation Jane Walk and Hardly Working; Cameron Kostopoulos, Body of Mine; Da Costa & Niederhauser, Tulpamancer; Celine Daemen, Songs for a Passerby; Arthur Jafa, Love Is the Message, The Message Is Death; Martine Syms, Notes on Gesture; Zach Blas, Facial Weaponization Suite; Kris Straub, Local 58; Marble Hornets; Kane Pixels, The Backrooms; No Players Online; Memo Akten, Learning to See; Trevor Paglen, Behold These Glorious Times!

Semester Activities	Number	Weigthing
Participation	1	25
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury	1	20
Project	1	15
Seminar / Workshop
Oral Exams
Midterm	1	20
Final Exam	1	20
Total

Weighting of Semester Activities on the Final Grade	3	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	16		0
Study Hours Out of Class	14	1.5	21
Field Work			0
Quizzes / Studio Critiques		4	0
Portfolio			0
Homework / Assignments			0
Presentation / Jury	1	6	6
Project	1	30	30
Seminar / Workshop			0
Oral Exam			0
Midterms	1	12	12
Final Exam	1	3	3
		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.	-	-	-	-	-