FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 436 | Course Introduction and Application Information
| Course Name |
Digital Media Theory
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 436
|
Fall/Spring
|
4
|
0
|
4
|
5
|
| Prerequisites |
|
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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 | DiscussionCase StudyLecture / Presentation | |||||||
| Course Coordinator | ||||||||
| Course Lecturer(s) | - | |||||||
| Assistant(s) | - | |||||||
| Course Objectives | Digital Media Theory is an advanced level elective course for providing the students with theoretical perspectives on new media technologies and new narrative forms. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course is designed for understanding the new media technologies and new narrative forms which surround us today, as well as the cultural conditions they establish before us. In this respect, the course starts with the discussion of media as a technological form, and then explicates the new ontological conditions brought forth by these new media technologies. What follows is a further discussion of the constitutive elements of the new narrative forms presented by these new media technologies --such as virtuality, hypertextuality, non-linearity, interactivity, rhizomatics and technological embodiment. Final direction of the course is to evaluate the economic and political dimensions of such notions and theoretical openings they provide. |
|
|
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 | Media as Technological Form | — Ong, Walter J. 1982. Orality and Literacy: The Technologizing of the Word. — J. Goody, I. Watt; “The Consequences of Literacy” Comparative Studies in Society and History Vol. 5, No. 3 (Apr., 1963), 304-345. — D. Schmandt-Besserat; “The Earliest Precursor of Writing” Scientific American Vol. 238, No. 6 (June 1978), 50-59. — Stephen Fry; The Machine That Made Us (video, online) |
| 2 | Media as Extensions of Man | — Marshall McLuhan; 1984. Understanding Media, MIT Press. — Vannevar Bush; “As We May Think”, The Atlantic Monthly, July 1945 (https://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/) |
| 3 | Media as Ontology | — Martin Heidegger; “The Age of World Picture”, In Electronic Culture: Technology And Visual Representation , edited by T. Druckrey. New York: Aperture. 1996, . — Jonathan Crary, “Modernity And The Problem of the Observer”, Techniques of the observer: on vision and modernity in the nineteenth century. Cambridge, Mass.: MIT Press, 1990, 1-24. |
| 4 | Televisuality | — Stuart Hall; “Encoding/Decoding" in Culture Media Language. Ed. S. Hall et al. 1980, 128-138. — Mary Ann Doane, "Information, Crisis and Catastrophe", The Logics of Television: Essays in Cultural Criticism. Ed. Patricia Mellencamp. Indiana University Press. 193-221. — Aras Ozgun, Andreas Treske, “On Streaming Media Platforms Their Audiences and Public Life”, Rethinking Marxism, 33:2, 2021, pp. 304-323. |
| 5 | Analog vs. Digital | — Jean-Louis Comolli; “Machines of the Visible”, Electronic Culture : Technology and Visual Representation , ed. Timothy Druckrey, New York: Aperture. 1996, — Raymond Bellour; “The Double Helix”, Electronic Culture : Technology and Visual Representation , ed. Timothy Druckrey, New York: Aperture. 1996, — William J. Mitchell; “Intention & Artifice”, The Reconfigured Eye: Visual Truth in the Post-Photographic Era , MIT Press, 1992, 23-58. |
| 6 | Hypertextuality | — George Landow; “Hypertext & Critical Theory” (online) — Jon Dovey; “Notes Toward a Hypertextual Theory of Narrative” (online) — Esper J. Aarseth; Cybertext: Perspectives on Ergodic Literature, Johns Hopkins University Press, 1997, |
| 7 | Interactivity | — Mikhail Bakhtin; Rabelais and His World, Indiana University Press, 2009 |
| 8 | Immersion | — Georges Canguilhem; "Machine and Organism", Incorporations II , 1996 — Donna Haraway; “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century”, Simians, Cyborgs, and Women: The Reinvention of Nature , 1991, 149-182. |
| 9 | Embodiment | — Don Ihde; “A Phenomonology Of Technics”, Technology and the Lifeworld: From Garden to Earth (Philosophy of Technology), Indiana University Press, 1992 |
| 10 | Virtuality | — Gilles Deleuze; “The Actual and the Virtual”, Dialogues II, 1987, 148-152. — Pierre Levy; Becoming virtual: reality in the digital age. New York: Plenum Trade, 1998, |
| 11 | Cyberspace | — Georg Simmel; “Bridge And Door” Theory Culture and Society. Volume: 11/1 issue: 1, Feb 1994, 5-10. — Michel De Certau; “Spatial Stories”, The Practice of Everyday Life, Berkeley: University of California Press, 1988, 115-130. — Anne Friedberg; “The Mobilized And Virtual Gaze in Modernity: Flaneur/Flaneuse”, Window Shopping: Cinema and the Postmodern, 1993, — Michel Foucault; “Of Other Spaces”, Diacritics, Vol. 16, No. 1 (Spring, 1986), 22-27. — Eric Davis; “Acoustic Cyberspace”, (nettime.org) |
| 12 | Online Communities | — Julian Dibbel; "A Rape in Cyberspace”, The Village Voice, 21 December, 1993 — Steven Shaviro; "Hyperpolis", (online conference paper, 2006) |
| 13 | Rhizomatics and Body w/o Organs | — Gilles Deleuze & Felix Guattari; “Introduction: Rhizome”, A Thousand Plateaus. University of Minnesota Press. 1987, 3-25. |
| 14 | Digital Media and Global Culture Industry | — Gilles Deleuze; “Postscript To Societies of Control”, October 59, Winter 1992, MIT Press, Cambridge, MA, 3 – 7. — Scott Lash & Celia Lury; Global Culture Industry: The Mediation of Things, “Introduction” Wiley, 2007, |
| 15 | Case Study Presentations | |
| 16 | Semester Review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
20
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
30
|
| Presentation / Jury | ||
| Project |
1
|
30
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
20
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
2
|
50
|
| Weighting of End-of-Semester Activities on the Final Grade |
2
|
50
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
4
|
64
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
14
|
3
|
42
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
10
|
20
|
| Presentation / Jury |
0
|
||
| Project |
1
|
12
|
12
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
12
|
12
|
| 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. |
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| 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. |
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| 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. |
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| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
X | ||||
| 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. |
X | ||||
| 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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