CDM 445 | Course Introduction and Application Information

Course Name
Contemporary Global Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 445
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Elective
Course Level
First Cycle
Course Coordinator
Course Lecturer(s) -
Assistant(s) -
Course Objectives This course aims to introduce students to contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context.
Course Description The students who succeeded in this course;
  • Define main themes, key moments and trends in contemporary world cinema from the 1980s onwards.
  • Discuss how world cinema intervenes in debates about, and contributes new understandings to, our formulation of the local, national and the transnational in contemporary film studies.
  • Compare discourses regarding questions of representation in the context of gender, race, class and sexuality in cinema across different geographies.
  • Analyze key concepts in film studies and how they apply to world cinema.
  • Discuss meanings of the concepts of local, national and global in their wider implications to film and media studies as well as other disciplines of humanities.
  • Analyze diverse beliefs, practices, stories, and conditions within a wide range of Western and non-Western Cultures through the representations in the films.
  • Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization.
  • Evaluate complex relationships between national identity and transnational production.
Course Content This course combines theoretical work and the viewing of films. Students are responsible for the preparation of three response papers. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text.

 



Course Category

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
2 Middle Eastern Cinema Screening: Under the Shadow (Babak Anvari, 2016) Moore, L. C. (2005). Women in a Widening Frame:(Cross-) Cultural Projection, Spectatorship and Iranian Cinema. Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33
3 Eastern European Cinema I Screening: White God (Kornel Mundrczo, 2014) Iordanova, D. (2001). “Cinema of Flames: Balkan” Film. Culture and the Media (London: BFI, 2001), 178. Ieta, R. (2010). “The new Romanian cinema: a realism of impression”. Film Criticism, 34(2/3), 22.
4 Eastern European Cinema II Screening: Dogtooth (Yorgos Lanthimos, 2009) Papadimitriou, L. (2011) “The national and the transnational in contemporary Greek cinema” New review of film and television studies, 9(4), 493-512. Chalkou, M. (2012). “’new cinema of ‘emancipation’: Tendencies of independence in Greek cinema of the 2000s” Interactions: Studies in Communication & Culture, 3(2), 243-261. Koutsourakis, A. (2012). “Cinema of the Body: The Politics of Performativity in Lars von Trier's Dogville and Yorgos Lanthimos' Dogtooth” Cinema: Journal of Philosophy and the Moving Image, 3, 84-108.
5 Western European Cinema I Screening: Turist (Ruben Östlund, 2014) Geuens, Jean-Pierre, “Dogma 95: A Manifesto for Our Times” Quarterly Review of Film & Video, Vol. 18, Issue 2, (2001) pp. 191 – 202
6 Western European Cinema II Screening: Climax (Gaspar Noe, 2018) Powrie, P. (1998). “Heritage, history and ‘new realism’: French cinema in the 1990s” Modern & Contemporary France, 6(4), 479-491. Gibson, B. (2006). “Bearing witness: The Dardenne Brothers' and Michael Haneke's implication of the viewer” CineAction, (70), 24.
7 Indian Cinema Screening: Monsoon Wedding (Mira Nair, 2001) First Response Paper due date. Larkin, B. (1997) “Indian films and Nigerian lovers: media and the creation of parallel modernities” Africa, 67(03), 406-440.
8 African Cinema Screenings: Call Me Kuchu (Katherine Fairfax Wright, Malika Zouhali-Worrall, 2012) Adesokan, A. (2012). “Nollywood and the idea of the Nigerian cinema” Journal of African Cinemas, 4(1), 81-98.
9 Cinema in Australia and New Zealand Screening: Heavenly Creatures (Peter Jackson, 1994) Scahill, A. (2012) “Wonderful, Heavenly, Beautiful, and Ours’: Lesbian Fantasy and Media(ted) Desire in Heavanly Creatures” Journal of Lesbian Studies. Vol. 16 issue 3, 365-375.
10 Korean Cinema Screening: Bedevilled (Jang Cheol Soo, 2010) Second Response Paper due date. Darcy Paquet. (2009). New Korean Cinema: Breaking the Waves. Columbia University Press. 44-61.
11 Hong Kong and Chinese Cinema Screening: Suzhou River (Ye Lou, 2000) Lee, V. P. (2009). Hong Kong cinema since 1997: the post-nostalgic imagination. Palgrave Macmillan. 163-184.
12 Japanese Cinema Screening: Confessions (Tetsuya Nakashima, 2010) Dew, O. (2007). “Asia Extreme!: Japanese Cinema and British Hype” New Cinema: Journal of Contemporary Film Vol. 5 issue 1, 53-73. Hyland, R. (2002). Hybridity in Contemporary Japanese Cinema: Heterogeneity in a Homogenous Society. Asian Cinema Vol. 13 issue 2, 105-114.
13 Latin American Cinema Screening: A Fantastic Woman (Sebastian Lelio, 2017) Rocha, C. (2009) ”Contemporary Argentine Cinema during Neoliberalism” Hispania, vol. 92 no. 4 (December, 2009) 841-851.
14 Diasporic Cinema / Beyond Transnational Cinema Screening: White Material (Claire Denis, 2009) Bergfelder, T. (2005). “National, transnational or supranational cinema? Rethinking European film studies” Media, culture & society, 27(3), 315-331. Higbee, W., & Lim, S. H. (2010). “Concepts of transnational cinema: Towards a critical transnationalism in film studies” Transnational Cinemas, 1(1), 7-21.
15 Third response paper due date
16 Course Overview

 

Course Notes/Textbooks
Suggested Readings/Materials

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
25
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
3
75
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
Total

Weighting of Semester Activities on the Final Grade
4
100
Weighting of End-of-Semester Activities on the Final Grade
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Course Hours
Including exam week: 16 x total hours
16
3
48
Laboratory / Application Hours
Including exam week: 16 x total hours
16
Study Hours Out of Class
Field Work
Quizzes / Studio Critiques
Homework / Assignments
3
20
Presentation / Jury
Project
Seminar / Workshop
Portfolios
Midterms / Oral Exams
Final / Oral Exam
    Total
108

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1 To develop the habit of critical thinking in areas of cinema and digital media. X
2 To be able to comprehend and discuss theories, concepts and ideas that form the basis of cinema and digital media. X
3 To know and understand practices in areas of cinema and digital media as creative and/or business processes. To be able to see these processes from cultural and historical perspectives. X
4 To cultivate awareness in the inter- and multi-disciplinary nature of cinema and digital media, thus developing a dynamic and flexible professional character capable of operating and communicating across a wide range of subject areas. X
5 To develop an understanding of the unity of theory of practice and practice of theory. X
6 To observe norms of work ethic and a thoroughgoing professional ethic.
7 Endowed with the virtues and skills of being self-disciplined, self-critical and self-managerial, to be able to both work independently and as member of a team.
8 To have the fundamental knowledge and ability to use the technical equipment and software programmes in the areas of cinema and digital media and to possess advanced level computing and IT skills. (“European Computer Driving Licence”, Advanced Level)
9 To be able to follow developments in new technologies of cinema and digital media, as well as new methods of production, new media industries, and new theories; and to be able to communicate with international colleagues in a foreign language (“European Language Portfolio Global Scale”, Level B1). X
10 To be able to use a second foreign language at the intermediate level.
11 To be able to use and develop the acquired knowledge and skills in a lifelong process aimed at the achievement personal and social goals X

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest