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- 25TH YEAR
Department of Cinema and Digital Media
GEAR 211 | Course Introduction and Application Information
| Course Name |
Communication, Literature and Philosophy
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
GEAR 211
|
Fall/Spring
|
3
|
0
|
3
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| National Occupation Classification | - | |||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This module aims to introduce students to analytic thinking and philosophizing via short readings and analysis of literary and media texts. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course will examine Western philosophy in relation to literature, art, and culture and communication fields in general. |
| Related Sustainable Development Goals |
|
|
|
Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction, getting to know each other, presentation of course learning outcomes and evaluation criteria | |
| 2 | What is philosophy? Why read literature? | Nigel Warburton – Philosophy: The Basics, Introduction Mario Vargas Llosa – Why literature? In-class close reading exercise: Ray Bradbury – The Veldt |
| 3 | Reading in the Digital Age | Umberto Eco - From Internet to Gutenberg Nicholas Carr – Is Google Making Us Stupid? In-class close reading exercise: Ernest Hemingway – Cat in the Rain |
| 4 | What is close reading? | Francine Prose — Reading Like a Writer, Chapter 1: Close Reading In-class close reading exercise: Novel and Movie Nancy H. Kleinbaum – Dead Poets Society, excerpts Dead Poets Society (1989) dir. Peter Weir, selected scenes |
| 5 | What is Enlightenment? | Immanuel Kant – What is Enlightenment? Shirley Jackson – The Lottery |
| 6 | Alienation | Nigel Warburton - A Little History of Philosophy, Chapter 27: Workers of the World Unite Karl Marx – Estranged Labour John Updike – A&P |
| 7 | Reading a Movie | In-class close film reading exercise: Fight Club (1999) dir. David Fincher, selected scenes |
| 8 | Midterm Exam | 7-15 November 2026 |
| 9 | Not to Work | Paul Lafargue - The Right to Be Lazy Bertrand Russell - In Praise of Idleness Spongebob Squarepants selected episodes |
| 10 | Boredom | Georg Simmel – The Metropolis and Mental Life American Psycho, dir. Mary Harron |
| 11 | Unconscious | Nigel Warburton - A little history of philosophy, Chapter 30: Thoughts in Disguise Sigmund Freud - The Psychopathology of Everyday Life, Chapter 5: Slips of the Tongue |
| 12 | The Traces of Unconscious | Kate Chopin – The Story of an Hour Fight Club (1999) dir. David Fincher |
| 13 | Freedom | Jean-Paul Sartre - Existentialism is a Humanism Groundhog Day, dir. Harold Ramis |
| 14 | Humor | Henry Bergson – Laughter, excerpts Simon Critchley — On Humour, excerpts Selected movie, serie and stand-up scenes, tba |
| 15 | Review of the Semester | |
| 16 | Final Exam | 4-13 January 2027 |
| Course Notes/Textbooks | *All course readings are available at the University Library and as open sources. |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
15
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques |
1
|
15
|
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam |
1
|
40
|
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| 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 |
16
|
3
|
48
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
1
|
14
|
14
|
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
0
|
||
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
15
|
15
|
| Final Exam |
1
|
25
|
25
|
| 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. |
-
|
-
|
-
|
-
|
-
|
|
| 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. |
-
|
-
|
-
|
-
|
-
|
|
| 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. |
-
|
-
|
-
|
-
|
-
|
|
| 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. |
-
|
-
|
-
|
-
|
-
|
|
| 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. |
-
|
-
|
-
|
-
|
-
|
|
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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