FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
GEAR 213 | Course Introduction and Application Information
| Course Name |
Art Movements and Artists of the 20th Century
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
GEAR 213
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
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| Course Language |
English
|
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| Course Type |
Service Course
|
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| Course Level |
First Cycle
|
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| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionGroup WorkLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | The objective of this course is to emphasize a conceptual understanding of art movements in the 20th century. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | Students will be able to identify different art movements, will gain basic understanding of each work’s possible concept, significance and style and will be able to examine selected art works from the 20th century. |
|
|
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: Brief information about the art journey of humanity. The changing conditions which lay foundation for Modernism. | Weston, R. (1996), Modernism, Phaidon Press, pp: 8-19, video on Industrial Revolution. |
| 2 | Last decades of 19th century. Impressionism, Post Impressionism, Symbolism, Art Nouveau | Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 919-930. |
| 3 | Cubism, Primitivism and Futurism | Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 959-967. |
| 4 | Expressionism, Fauvism | Kleiner, Fred, et.al, (2004). Gardner’s Art Through the Ages. Thomson Wadsworth, pp. 919-930. Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag, pp. 415-459 |
| 5 | Bauhaus, Constructivism | Weston, R. (1996), Modernism, Phaidon Press, pp: 119-137; Shiner, L. (2001). The Invention of Art. Chicago, The University of Chicago Press. pp.246-268. |
| 6 | New Experiments: Dada, Suprematism, Neo-Plasticism | Philips, S. (2018) isms: Understanding Modern Art, Herbert Press. Pp.52-56 Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag. |
| 7 | Surrealism | Philips, S. (2018) isms: Understanding Modern Art, Herbert Press.pp.64-67 Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag. |
| 8 | Midterm | |
| 9 | Realism: Social Realism, Kitchen Sink Realism | Philips, S. (2018) isms: Understanding Modern Art, Herbert Press. |
| 10 | Abstract Expressionism. | Philips, S. (2018) isms: Understanding Modern Art, Herbert Press. Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag. |
| 11 | Pop Art, Op Art, Conceptual Art | Buchholz, E.L., Bühler G., Hille K., Kaeppele, S., Stotland I. (2007). Art –The History of Modern Art, Peter Delius Verlag. Adorno, W.T., Culture Industry, Routledge Classics “The Schema of Mass Culture” |
| 12 | Post Modernism. Feminist Art. | Broude, N., Garrard M. D., (1994) The Power of Feminist Art, Thames and Hudson, pp. 10-29. |
| 13 | Live Art: Installation, Performance and Dance | Videos |
| 14 | Environmental art, Technological Art. | Invitation to the Gallery pp.281-285 |
| 15 | Review | |
| 16 | FINAL EXAM |
| Course Notes/Textbooks | Adorno, W.T., Culture Industry, Routledge Classics.
|
| Suggested Readings/Materials | https://www.khanacademy.org/ |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
10
|
| Presentation / Jury |
1
|
20
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam |
1
|
30
|
| Total |
| Weighting of Semester Activities on the Final Grade |
4
|
70
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
30
|
| 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 |
10
|
3
|
30
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
1
|
10
|
10
|
| Presentation / Jury |
1
|
10
|
10
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
10
|
10
|
| Final Exam |
1
|
15
|
15
|
| Total |
123
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
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| 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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| 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. |
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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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| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
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| 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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| 12 | To be able to use a second foreign language at the medium level. |
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| 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
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