GEHU 301 | Course Introduction and Application Information

Course Name
Storytelling in Brand Communication
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEHU 301
Fall/Spring
3
0
3
5

Prerequisites
None
Course Language
Course Type
Second Foreign Language
Course Level
-
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives The aim of this course is to provide advertising and PR students to learn the importance, benefits and current applications of classic and modern storytelling in brand communication and brand management, and providing them to apply these methods in creative works.
Course Description The students who succeeded in this course;
  • apply storytelling techniques in brand communication and brand management
  • create advertisement idea and advertisement campaign with storytelling techniques
  • participate in other communication projects which use storytelling techniques
  • use the storytelling techniques for creating a personal communications network, internal correspondences, business writing, direct sales activities etc.
  • implement fiction creating technique in business life
Course Content In this course, students are introduced to creative writing techniques, story types and techniques, the importance of story types and techniques in brand communication, brand management, advertising and PR and current uses of branches of stroytelling techniques and apllications.

 



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 Gather by the fire: Roots & relations of storytelling & branding - From prehistorical tribes to an astranaut named L. Armstrong Part I – Branding Through Storytelling “Storytelling – Branding in Practice” – Klaus Fog, Christian Budzt, Barış Yakaboylu
2 Dungeons, Dragons & Knights: The message, the character, the conflict, the plot: AKA How to steal the heart of your audience like a prince in shining armor Part II - Four Elements of Storytelling “Storytelling – Branding in Practice” – Klaus Fog, Christian Budzt, Barış Yakaboylu
3 Hero’s Journey: The Quest of Success Plotting a differentiating story AKA When you gaze into the abyss, lots of brands look back at you A Practical Guide to Campbell’s “Hero’s Journey” http://www.thewritersjourney.com/hero's_journey.htm
4 The Heming-way: Coding the message for the eye & the ear AKA Being brutally honest in writing “The World’s Language of Persuation” bölümü, “The Invisible Grail” – John Simmons “For Whom the Bells Toll” – E. Hemingway
5 The Bonnie Situation: Formulating “character” of a brand AKA Stray bullets kill people, bad mottos kill brands “The World’s Language of Persuation” sequence “The Invisible Grail” – John Simmons “The Bonnie Situation” sequence, “Pulp Fiction” – Quentin Tarantino
6 Engineered Creativity Wordsmithing & storycrafting with a style AKA Being a professional manipulator & being nice about it “10 Steps to Start Your Concent Marketing” Robert Rose
7 The Comic Toolbox Do leaders write or read AKA Getting that punchline right in the face “The Rule of Nine” ve “The Comedy Throughline” bölümleri, “The Comic Toolbox: How to Be Funny Even When You Are Not” John Warhaus
8 Myths & Business Creating a hype for marketing purposes AKA Story-selling: Transmedia storytelling “Transmedia Storytelling 101 Handout” – Henry Jenkins Star Wars and Disneyland case studies
9 What If? (1) Test your writing skills in this workshop
10 A Digitally Aged Cheese That Smells Preparing yourself to write online AKA Using digital media with or without proper technique & suffering the consequences İnci Sözlük & Ekşi Sözlük case studies
11 What If? (2) Test your digital writing skills in this workshop
12 My Name is Mahir. Ins & outs of corporate communication & writing for business AKA You style is the brand. Sell it first. Part 1, “Moby Dick” – Herman Melville Internet Mahir case study and Herman Melville.
13 Poet Cemetery: Post mortem evalution & strategy building for future AKA A graveyard exercise for branding professionals Ginger case study
14 Everyone plays! Doing target & market analysis for online audience & building a game concept / conflict that sells big time AKA What does 21st century brain think? Digitally Remastered I Present your digital writing skills in class & let us roast you down part 1, “The Design of Episodic Games Blog” – Pascal Luban Defiance & Pokemon Go case studies
15 Review of the Semester
16 Final Exam

 

Course Notes/Textbooks

“You Are Getting Old” Y&R Research for Europe Demographics

“10 Steps to Start Your Concent Marketing” Robert Rose

Suggested Readings/Materials

“Story” Robert McKee

“The Comic Toolbox” John Warhaus

“On Writing” Stephen King

“Storytelling – Branding in Practice” Klaus Fog, Christian Budzt, Barış Yakaboylu

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
10
Presentation / Jury
2
10
Project
4
60
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
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
10
2
Field Work
Quizzes / Studio Critiques
Homework / Assignments
1
15
Presentation / Jury
2
10
Project
4
14
Seminar / Workshop
Oral Exam
Midterms
Final Exam
    Total
159

 

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