|
Course Name
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Theories of Communication
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|
Code
|
Semester
|
Theory
(hour/week)
|
Application/Lab
(hour/week)
|
Local Credits
|
ECTS
|
|
COMM 102
|
Spring
|
2
|
2
|
3
|
5
|
|
Prerequisites
|
None
|
|
Course Language
|
English
|
|
Course Type
|
Required
|
|
Course Level
|
First Cycle
|
|
Mode of Delivery
|
- |
|
Teaching Methods and Techniques of the Course
|
Discussion
Case Study
Q&A
Lecture / Presentation
|
|
National Occupation Classification
|
-
|
|
Course Coordinator
|
|
|
Course Lecturer(s)
|
|
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Assistant(s)
|
- |
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Course Objectives
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The theory component of the course aims to introduce the students to the major theories that shape the field of communication studies within their historical contexts. Students will acquire the necessary knowledge to critically reflect on the major paradigms of the last century within media and communication theories. The application component aims to enable students\nto deploy the communication theories and models in the analysis and production of media products. |
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Learning Outcomes
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The students who succeeded in this course;
- discuss the relation between the developments in mass communication processes and their historical conjunctures.
- define the fundamental models of mass communication.
- define the fundamental theories of mass communication and their weaknesses and strengths
- apply the theories discussed in this course to the analysis of a variety of different media texts.
- make use of the relevant terminology from the field of communication studies when analyzing media texts
|
|
Course Description
|
The course focuses on the media and communication theories that have been developed over the 20 th century and the beginning of the 21 st century. The course adopts a historical perspective when introducing these theories, shedding light not only on the theories and models themselves but also on the socio political context within which they have emerged. The first section of the course focuses on administrative (mainstream media theories) while the second section introduces critical approaches to media and communication. In the application component, the students are expected to use the theories they have learned in their analysis and production of media texts. Within this context, the course includes a two hours-per-week application module. In some weeks students present and critique the media texts they have produced. In others they form groups to engage in hands-on text analysis. |
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Related Sustainable Development Goals
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|
|
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Core Courses |
|
| Major Area Courses |
|
| Supportive Courses |
|
| Media and Management Skills Courses |
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| Transferable Skill Courses |
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WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
|
Week |
Subjects |
Related Preparation |
| 1 |
Introduction |
|
| 2 |
Theory Building and Communication |
Communication Theory, s.1/14 |
| 3 |
The mass – Media, Culture and Society |
Communication Theory, s. 43/59 |
| 4 |
Empiricist Approach |
P. F. Lazarsfeld and R. K. Merton, Mass Communication, Popular Taste and Organized Social Action. Mattelart & Mattelart, Theories of Communication, s. 5/11 |
| 5 |
Models and Effects |
Mc Quail, Mass Communication Theory, s.68/76 ve 86/94 |
| 6 |
Medium Theory |
Mattelart & Mattelart, Communication Theory, s.19/25 |
| 7 |
Marxism and Media Theory |
Mattelart & Mattelart, Communication Theory, s.57/68 |
| 8 |
Midterm |
|
| 9 |
The Culture Industry |
Theodor Adorno, the culture Industry, s.62/84 |
| 10 |
The Political Economy of Media |
Dallas W. Symythe, On the Audience Commodity and its Work, s.230/256 |
| 11 |
Media and Cultural Studies |
Stuart Hall, Encoding/Decoding s.164/173 |
| 12 |
Postmodernism and Media Studies |
Guy Debord, Society of Spectacle, s.108/127. Jean Baudrillard, The Precision of Simulacra, s.453/481 |
| 13 |
Informationalism and the Network Society |
M. Castells, (2009) Communication Power and counter-power in the Network Society, s.238/259 |
| 14 |
Digital Cultures and Politics |
|
| 15 |
Review |
|
| 16 |
Final |
|
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Course Notes/Textbooks
|
Mattelart, A. Mattelart M. (1998) Theories of Communication: A Short Introduction. London, Sage. ISBN: 1446232441, 9781446232446
|
|
Suggested Readings/Materials
|
Castells, M. (2009) Communication Power. Oxford Unıvers Wiley- Blackwell. ISBN: 978-0199595693
|
EVALUATION SYSTEM
|
Semester Activities
|
Number |
Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application |
-
|
-
|
| Field Work |
-
|
-
|
| Quizzes / Studio Critiques |
2
|
30
|
| Portfolio |
-
|
-
|
| Homework / Assignments |
-
|
-
|
| Presentation / Jury |
-
|
-
|
| Project |
-
|
-
|
| Seminar / Workshop |
-
|
-
|
| Oral Exams |
-
|
-
|
| Midterm |
1
|
30
|
| Final Exam |
1
|
30
|
| Total |
5
|
100
|
| Weighting of Semester Activities on the Final Grade |
3
|
70
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
30
|
| Total |
4 |
100 |
ECTS / WORKLOAD TABLE
|
Semester Activities
|
Number |
Duration (Hours) |
Workload |
Theoretical Course Hours
(Including exam week: 16 x total hours) |
16
|
2
|
32
|
Laboratory / Application Hours
(Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
14
|
3
|
42
|
| Field Work |
-
|
-
|
-
|
| Quizzes / Studio Critiques |
2
|
8
|
16
|
| Portfolio |
-
|
-
|
-
|
| Homework / Assignments |
-
|
-
|
-
|
| Presentation / Jury |
-
|
-
|
-
|
| Project |
-
|
-
|
-
|
| Seminar / Workshop |
-
|
-
|
-
|
| Oral Exam |
-
|
-
|
-
|
| Midterms |
1
|
10
|
10
|
| Final Exam |
1
|
20
|
20
|
| |
|
Total |
152
|
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.
|
-
|
-
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-
|
-
|
-
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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.
|
-
|
-
|
-
|
-
|
-
|
|
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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-
|
-
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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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-
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-
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-
|
-
|
-
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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.
|
-
|
-
|
-
|
-
|
-
|
|
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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-
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-
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-
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-
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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.
|
-
|
-
|
-
|
-
|
-
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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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-
|
-
|
-
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-
|
-
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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
