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- 25TH YEAR
Department of Cinema and Digital Media
GEET 310 | Course Introduction and Application Information
| Course Name |
Gender and Media
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
GEET 310
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
|||||
| Course Language | ||||||
| Course Type |
Second Foreign Language
|
|||||
| Course Level |
-
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| National Occupation Classification | - | |||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course conceptualizes gender as a category of knowledge and aims to understand how gender is constructed by the media. We will consider gender as a constitutive element of identity and by analyzing its intersection with other categories such as race, class, nation and sexuality, we will grasp the importance of the representation of gender in media and its meaning for our lives. The course consists of lectures, screenings and discussions revolving around critical analysis of and engagement with contemporary examples of film, television, adverts and new media. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | his course examines various images and representations of gender in media paying particular attention to contemporary discussions. Employing theories from cultural studies, media, film, reception and gender studies, it explores different processes and practices of gender, specifically in terms of media representations of femininity, masculinity and queerness. The media plays a major role in "constructing" gender, and “popular” views of what appropriate gendering is, in turn, shape how we communicate with each other. Participation (20%) – You should come to class prepared to ask questions and ready to make lively, insightful, substantive and respectful contributions to our discussion of the course materials. Written Assignment (20%): These assignments require the students to select a theme we have covered in the class and conduct a detailed analysis of how that example reflects the context in which it was produced/distributed/exhibited. |
| 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 | Course Introduction: Why Study Gender in the Media? | Lecture: Course framework, expectations, and introduction to the media analysis assignment |
| 2 | Introduction to Gender and Media | Reading: West and Zimmerman (1987), ‘Doing Gender’, Gender & Society, 1(2), 125–151 Video: Chimamanda Ngozi Adichie, ‘We Should All Be Feminists’ (TED) |
| 3 | Global Perspectives on Gender Representation | Lecture: Gender in Western and non-Western media Reading: Gill (2007), Gender and the Media, Chapter 3 Reading: Tuchman (1978), ‘The Symbolic Annihilation of Women by the Mass Media’ Video: Miss Representation, official trailer |
| 4 | Feminism and Media | Lecture: Waves of feminism in the media Reading: hooks (2000), Feminism Is for Everybody, Chapters 4 and 6 Reading: Crenshaw (1989), ‘Demarginalizing the Intersection of Race and Sex’, pp. 139–152 Video: Kimberlé Crenshaw, ‘The Urgency of Intersectionality’ (TED, 2016) |
| 5 | Masculinity and Media | Lecture: Toxic masculinity and representation Reading: Connell (1995), Masculinities, Chapter 1 Reading: Ging (2019), ‘Alphas, Betas, and Incels’, Men and Masculinities, 22(4), 638–657 Video: The Mask You Live In, official trailer |
| 6 | Queer theory and queer in media | Lecture: Visibility and stereotyping of LGBTQ+ identities Reading: Butler (1988), ‘Performative Acts and Gender Constitution’, Theatre Journal, 40(4), 519–531 Reading: Stryker (2008), Transgender History, Chapter 1 Video: Disclosure, official trailer |
| 7 | Social Media and Influencers | Lecture: Gender performances on social media Reading: Marwick (2013), Status Update, Chapter 3, ‘The Fabulous Lives of Micro-Celebrities’ Video examples: Gender performance on Instagram and TikTok, selected by the instructor |
| 8 | Midterm | |
| 9 | Gender and Film | Lecture: Gender in global cinema Reading: Mulvey (1975), ‘Visual Pleasure and Narrative Cinema’, Screen, 16(3), 6–18 Video: Selected film clips for gender analysis |
| 10 | Media, Race, and Intersectional Representation | Lecture: The oppositional gaze as a response to Mulvey Reading: hooks (1992), ‘The Oppositional Gaze: Black Female Spectators’, in Black Looks Video: Race, gender, and intersectionality, selected by the instructor |
| 11 | Gender and News Media | Lecture: Gendered narratives in global news Reading: Ross (2010), Gendered Media, Chapter 2 Video examples: Gender bias in news media Media analysis assignment due |
| 12 | Algorithms, Artificial Intelligence, and Gender | Lecture: Search, recommendation systems, and gendered visibility Reading: Noble (2018), Algorithms of Oppression, Introduction and Chapter 1 Case study: Deepfakes and image-based violence, current news materials |
| 13 | Gender and Media in Turkey | Reading: Burul and Eslen-Ziya (2018), ‘Understanding “New Turkey” Through Women’s Eyes: Gender Politics in Turkish Daytime Talk Shows’, Middle East Critique, 27(2), 179–192 Report: CEID Gender Equality Monitoring Report, selected sections |
| 14 | Media Ethics in Reporting Gender-Based Violence Guidelines for Reporting on Gender-based Violence | Reading: Guidelines for Reporting on Violence Against Women, Ethical Journalism Initiative Case study: Analysis of selected news reports |
| 15 | Evaluation of the term | Reading: Gauntlett (2008), Media, Gender and Identity, Introduction and Conclusion Discussion: Counterarguments to the critical frameworks developed during the semester |
| 16 | Finals Week |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | The course uses the sources that are listed above |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
30
|
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam |
1
|
30
|
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
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 |
14
|
2
|
28
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
1
|
10
|
10
|
| Presentation / Jury |
0
|
||
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
10
|
10
|
| Final Exam |
1
|
24
|
24
|
| Total |
120
|
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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