GEAR 306 | Course Introduction and Application Information

Course Name
Hollywood Cinema
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEAR 306
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to enable students to develop a general knowledge of Hollywood's production/distribution/exhibition networks. It identifies main themes and styles throughout Hollywood's history and discusses its patterns of authorship, star system, technology and genres. The course contextualizes Hollywood as a global system not only as a business but also as a system of meanings.
Course Description The students who succeeded in this course;
  • Demonstrate an understanding of key concepts in film studies and their reflections on Hollywood cinema
  • Demonstrate an understanding of the heterogeneity of Hollywood cinema with its various genres and approaches.
  • Understand of Hollywood’s star system, key studios, directors and its relation to other media.
  • Understand Hollywood’s complex relationship to key social and economic crises, cultural shifts and technological developments.
  • Critically analyze individual Hollywood films from different periods and genres, while also comparing different films from a diversity of genres and periods.
Course Content This course examines Hollywood in its economic, cultural and historical context. It studies its industrial dynamics (studio system, star system, etc.) in parallel with its narrative tendencies and stylistic devices. Students are expected to attend the lectures, watch the films and actively participate with the class discussion following each screening.

 



Course Category

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 Hollywood and Social Change Modern Times (1936) Charlie Chaplin Howe, Lawrence. "Charlie Chaplin in the age of Mechanical Reproduction: reflexive ambiguity in Modern Times." College Literature 40, no. 1 (2013): 45-65.
2 Intertextuality in Cinema Casablanca (1942) Michael Curtiz Eco, Umberto. "" Casablanca": Cult Movies and Intertextual Collage." SubStance 14, no. 2 (1985): 3-12.
3 Melodrama as the Foundational Basis of Hollywood All About Eve (1950) Joseph L. Mankiewicz Lloyd, J., & Johnson, L. (2003). The three faces of Eve: The post-war housewife, melodrama, and home 1. Feminist Media Studies, 3(1), 7-25.
4 Gaze Theory Rear Window (1954) Alfred Hitchcock Howe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's" Rear Window"." College Literature (2008): 16-37.
5 Hollywood Art and Auteur Theory Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Stanley Kubrick Maland, C. (1979). Dr. Strangelove (1964): Nightmare comedy and the ideology of liberal consensus. American quarterly, 31(5), 697-717.
6 New Hollywood Era Bonnie and Clyde (1967) Arthur Penn King, G. (2002). New Hollywood Cinema: An Introduction. Bloomsbury Publishing, pp. 1-39
7 The Rise of Blockbusters Star Wars (1977) George Lucas Gordon, A. (1978). Star Wars: A myth for our time. Literature/Film Quarterly, 6(4), 314.
8 Images of Women in Film One Flew Over The Cuckoo’s Nest (1975) Milos Forman Farber, S., Americana, Sweet and Sour, The Hudson Review, Vol. 29, No. 1 (Spring, 1976), pp. 95-102
9 Independent Cinema Sex, Lies and Videotape (1989) Stephen Soderberg Perren, Alisa. “Sex, Lies and Marketing: Miramax and the Development of the Quality Indie Blockbuster.” Film Quarterly, Vol. 55, No. 2 (Winter 2001), pp. 30-39
10 Re-masculinizing the American Male American Beauty (1999) Sam Mendes Karlyn, Kathleen. "Too Close for Comfort: American Beauty" and the Incest Motif.” Cinema Journal, Vol. 44, No. 1 (Autumn, 2004), pp. 69-93
11 The Western No Country for Old Men (2007) Joel and Ethan Coen Mitchell, Lee Clark. “Dismantling the Western: Film Noir's Defiance of Genre in No Country for Old Men.” Genre (2014) 47 (3) pp. 335–356.
12 The Period Film Jane Eyre (2011) Cary Joji Fukunaga Williams, Carolyn. “Review Jane Eyre”. Victorian Literature and Culture. Vol. 40, No. 1 (2012), pp. 331-337
13 History and Politics in the Horror Genre Get Out (2017) Jordan Peele Landsberg, Alison, “Horror Vérité: Politics and History in Jordan Peele’s Get Out.” Continuum, 32:5, (2018), pp. 629-642.
14 Teen Noir Thoroughbreds, (2017) Cory Finley Chang, J.,Cory Finley's 'Thoroughbreds' is a Delectably Twisted Mean-Girls Noir.” The Los Angeles Times, March 8, 2018.
15 Course Review
16 Final Exam

 

Course Notes/Textbooks
Suggested Readings/Materials

Bordwell, David, and Kristin Thompson. Film History: An Introduction. New York: McGraw-Hill, 2008

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
1
40
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
Study Hours Out of Class
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
15
Presentation / Jury
Project
Seminar / Workshop
Oral Exam
Midterms
1
25
Final Exam
1
29
    Total
117

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to define and discuss the history, underlying concepts and theories of cinema and digital media.

2

To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking.

3

To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. 

4

To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing.

5

To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work.

6

To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images.

7

To be able to perform specialized tasks for creating digital media narratives with interactive elements.

8

To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view.

9

To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner.

10

To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment.

11

To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

12

To be able to speak a second foreign language at a medium level of fluency efficiently.

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

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