Course Detail
Course Detail
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| VISUAL CULTURE | MGS3115595 | Fall Semester | 3+0 | 3 | 6 |
| Course Program | Pazartesi 12:00-12:45 Pazartesi 12:45-13:30 Pazartesi 13:30-14:15 |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course introduces the basic concepts and debates of visual culture. Beginning with image, representation, sign, and ideology, it examines seeing as a historical practice through discussions of perspective, modernity, and the gaze. It then considers photography, mechanical reproduction, and everyday image culture, placing visual culture in the contexts of memory, archives, museums, and surveillance. |
| Course Content | This course contains; What Is Visual Culture? How Do Images Produce Meaning?,Ideology, Visuality, and the Viewer’s Production of Meaning,Perspective, Modernity, and New Ways of Seeing,The Gaze, Surveillance, and Power,Photography, Mechanical Reproduction, and Visual Reality,Everyday Photography and Moving Image Culture,Icons, Portraits, and Visualizing the Self,Midterm,Photography, Memory, and Archives,Postmodernism, Aesthetics, and Visual Value,Museums, Classification, and Visual Institutions,Surveillance, Counter-Surveillance, and Visibility,Death, Violence, and the Ethical Limits of Images,War, Technology, and the Aerial View,Countervisuality, Digital Circulation, and Visual Activism,Final Examination. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Defines the basic concepts of Visual Culture. | 10, 13, 14, 9 | E |
| Applies methods to analyze examples from fine art, photography, film, television, and digital media using explicit visual evidence. | 10, 13, 14 | |
| Evaluates contemporary visual issues such as propaganda, misinformation, taste and judgment, and platform design using course concepts. | 13, 14 | E |
| Analyze digital and algorithmic images with philosophical tools. | 10, 13, 14 | |
| Construct valid arguments in short essays and oral discussion. | 10, 13, 9 | A, E |
| Teaching Methods: | 10: Discussion Method, 13: Case Study Method, 14: Self Study Method, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What Is Visual Culture? How Do Images Produce Meaning? | Sturken and Cartwright (2018), Introduction and pp. 1–21, 24–37 |
| 2 | Ideology, Visuality, and the Viewer’s Production of Meaning | Sturken, pp. 22–24, 37–41, 51–60, 74–86 | Recommended: Mirzoeff, Introduction, pp. 1–28 and Ch. 2 "How We Think About Seeing", pp. 71–98 · Mitchell, "Resimler Ne İster?", Cogito 97, pp. 126–151 (English book selection on MEBİS: What Do Pictures Want?, 2005, pp. 28–56) |
| 3 | Perspective, Modernity, and New Ways of Seeing | Sturken and Cartwright (2018), "Realism and Perspective", pp. 139–178 | Recommended: Mirzoeff, pp. 89–103, 179–185 · Friedberg, "The Mobilized and Virtual Gaze in Modernity", The Visual Culture Reader (1998), pp. 253–262 (abridged selection) |
| 4 | The Gaze, Surveillance, and Power | Sturken, pp. 103–133 | Recommended: Foucault, Hapishanenin Doğuşu, "Panoptikon" (section title in the MEBİS selection: "Görülmeden Gözetim Altında Tutan Hapishane Sistemi") · Mirzoeff, The Right to Look, Introduction, pp. 1–34 |
| 5 | Photography, Mechanical Reproduction, and Visual Reality | Sturken, pp. 185–198 | Recommended: Benjamin, Teknik Olarak Yeniden Üretilebilirlik Çağında Sanat Eseri (English second version on MEBİS: 2008, pp. 19–55) · Sontag, "Platon'un Mağarasında" (MEBİS selection: Turkish translation by Reha Akçakaya, 1999) · Batchen, Burning with Desire, "Identity", pp. 2–21 |
| 6 | Everyday Photography and Moving Image Culture | Sturken, "Advertising and the Rise of Amateur Photography" (2017), author-shared PDF pp. 1–31 · Bordwell, Thompson and Smith, Film Art (13th edition, 2024), "The Significance of Film Form", pp. 50–70 | Recommended: Spigel, "The Suburban Home Companion", pp. 31–59 |
| 7 | Icons, Portraits, and Visualizing the Self | Sturken, pp. 41–48 · Mirzoeff (2015), Ch. 1 "How to See Yourself", pp. 29–70 | Recommended: Senft and Baym, "What Does the Selfie Say?", pp. 1588–1606 · Marwick, "Instafame", pp. 137–160 |
| 8 | Midterm | All topics in the first seven weeks |
| 9 | Photography, Memory, and Archives | Hirsch, Family Frames, Introduction, pp. 1–15 | Recommended: Hirsch and Spitzer, School Photos in Liquid Time, Introduction, pp. 3–44 · Fleetwood, "Posing in Prison", pp. 487–511 |
| 10 | Postmodernism, Aesthetics, and Visual Value | Sturken and Cartwright (2018), "Postmodernism", pp. 301–336 and pp. 60–74 | Recommended: Clifford, "On Collecting Art and Culture", The Visual Culture Reader (1998), pp. 94–107 (abridged selection) · Bourdieu, Ayrım, "Kültürel Soyluluğun Unvanları ve Kademeleri", introductory selection, pp. 25–33 |
| 11 | Museums, Classification, and Visual Institutions | Sturken, pp. 349–357, 406–415 | Recommended: Mathur, "Museums and Globalization", pp. 697–708 · Sekula, "The Body and the Archive", pp. 3–64 |
| 12 | Surveillance, Counter-Surveillance, and Visibility | Browne, Dark Matters, Introduction and Ch. 2, pp. 1–30, 63–88 | Recommended: Mirzoeff, "How Ferguson and #BlackLivesMatter Taught Us Not to Look Away" |
| 13 | Death, Violence, and the Ethical Limits of Images | Zelizer, About to Die, Ch. 1, pp. 1–27 | Recommended: Malkowski, Dying in Full Detail, Introduction, pp. 1–22 |
| 14 | War, Technology, and the Aerial View | Mirzoeff (2015), Ch. 3 "The World of War", pp. 99–128 | Recommended: Kaplan, Aerial Aftermaths, Introduction, pp. 1–33 · Kaplan, "Drone-o-Rama", pp. 161–177 · Stubblefield, "In Pursuit of Other Networks", pp. 195–219 |
| 15 | Countervisuality, Digital Circulation, and Visual Activism | Sturken, pp. 402–406, 415–420 | Recommended: Mirzoeff, Ch. 6–7 and Afterword "Visual Activism", pp. 211–300 · Mirzoeff, "Visualizing the Anthropocene", pp. 213–232 · McKee, Strike Art, Ch. 4 |
| 16 | Final Examination | Weeks 9–15 |
| Resources |
| Batchen, G. (1997). Burning with desire: The conception of photography. MIT Press. Benjamin, W. (2023). Teknik olarak yeniden üretilebilirlik çağında sanat eseri (O. Duman, Çev.). Can Yayınları. Bordwell, D., Thompson, K., & Smith, J. (2024). Film art: An introduction (13. baskı). McGraw-Hill. MEBİS seçkisinin kaynak baskısı. Bordwell, D., & Thompson, K. (2012). Film sanatı: Bir giriş (E. Yılmaz & E. S. Onat, Çev.). De Ki. Bourdieu, P. (2015). Ayrım: Beğeni yargısının toplumsal eleştirisi (D. F. Şannan & A. G. Berkkurt, Çev.). Heretik. Browne, S. (2015). Dark matters: On the surveillance of blackness. Duke University Press. Clifford, J. (1988). On collecting art and culture. The predicament of culture içinde (s. 215–251). Harvard University Press. Fleetwood, N. R. (2015). Posing in prison: Family photographs, emotional labor, and carceral intimacy. Public Culture, 27(3), 487–511. Foucault, M. (2019). Hapishanenin doğuşu (M. A. Kılıçbay, Çev.). İmge. Friedberg, A. (1993). The mobilized and virtual gaze in modernity. Window shopping: Cinema and the postmodern içinde (s. 15–40). University of California Press. Hirsch, M. (1997). Family frames: Photography, narrative, and postmemory. Harvard University Press. Hirsch, M., & Spitzer, L. (2020). School photos in liquid time: Reframing difference. University of Washington Press. Kaplan, C. (2017). Drone-o-rama. L. Parks & C. Kaplan (Ed.), Life in the age of drone warfare içinde (s. 161–177). Duke University Press. Kaplan, C. (2018). Aerial aftermaths: Wartime from above. Duke University Press. Malkowski, J. (2017). Dying in full detail: Mortality and digital documentary. Duke University Press. Marwick, A. E. (2015). Instafame: Luxury selfies in the attention economy. Public Culture, 27(1), 137–160. Mathur, S. (2005). Museums and globalization. Anthropological Quarterly, 78(3), 697–708. McKee, Y. (2016). Strike art: Contemporary art and the post-Occupy condition. Verso. Mirzoeff, N. (2011). The right to look: A counterhistory of visuality. Duke University Press. Mirzoeff, N. (2014). Visualizing the Anthropocene. Public Culture, 26(2), 213–232. Mirzoeff, N. (2015, 10 Ağustos). How Ferguson and #BlackLivesMatter taught us not to look away. The Conversation. Mirzoeff, N. (2015). How to see the world. Pelican. Haftalık sayfaların kaynak nüshası. Mirzoeff, N. (2016). How to see the world. Basic Books. Alternatif baskı. Mitchell, W. J. T. (2020). Resimler ne ister? Cogito, 97, 126–151. Sekula, A. (1986). The body and the archive. October, 39, 3–64. Senft, T. M., & Baym, N. K. (2015). What does the selfie say? Investigating a global phenomenon. International Journal of Communication, 9, 1588–1606. Sontag, S. (1999). Fotoğraf üzerine (R. Akçakaya, Çev., 2. baskı). Altıkırkbeş. MEBİS seçkisinin kaynak baskısı. Sontag, S. (2023). Fotoğraf üzerine (O. Akınhay, Çev.). Can Yayınları. Spigel, L. (2001). The suburban home companion. Welcome to the dreamhouse içinde (s. 31–59). Duke University Press. Stubblefield, T. (2017). In pursuit of other networks: Drone art and accelerationist aesthetics. L. Parks & C. Kaplan (Ed.), Life in the age of drone warfare içinde (s. 195–219). Duke University Press. Sturken, M. (2017). Advertising and the rise of amateur photography: From Kodak and Polaroid to the digital image. Advertising & Society Quarterly, 18(3). Sturken, M., & Cartwright, L. (2018). Practices of looking: An introduction to visual culture (3. baskı). Oxford University Press. Türkçe ders dosyalarının kaynak nüshası. Sturken, M., & Cartwright, L. (2025). Practices of looking: An introduction to visual culture (4. baskı). Oxford University Press. Zelizer, B. (2010). About to die: How news images move the public. Oxford University Press. |
| Required and recommended readings are specified in the weekly course outline. Recommended readings are outside the examination scope unless explicitly assigned in class. Reading PDFs are available under Course Files in MEBİS. Page references use Practices of Looking, 3rd edition (2018), How to See the World, Pelican (2015), and Film Art, 13th edition (2024). The Foucault, Sontag, and McKee selections were converted from source EPUBs. The Sontag selection uses Reha Akçakaya’s Turkish translation (Altıkırkbeş, 1999). |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | X | |||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | X | |||||
| 6 | Understands the symbol systems of cultures. | X | |||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | X | |||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | X | |||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | X | |||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | X | |||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | X | |||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | X | |||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | X | |||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | X | |||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | X | |||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |
| ECTS / Workload Table | ||||||
| Activities | Number of | Duration(Hour) | Total Workload(Hour) | |||
| Course Hours | 0 | 0 | 0 | |||
| Guided Problem Solving | 0 | 0 | 0 | |||
| Resolution of Homework Problems and Submission as a Report | 0 | 0 | 0 | |||
| Term Project | 0 | 0 | 0 | |||
| Presentation of Project / Seminar | 0 | 0 | 0 | |||
| Quiz | 0 | 0 | 0 | |||
| Midterm Exam | 0 | 0 | 0 | |||
| General Exam | 0 | 0 | 0 | |||
| Performance Task, Maintenance Plan | 0 | 0 | 0 | |||
| Total Workload(Hour) | 0 | |||||
| Dersin AKTS Kredisi = Toplam İş Yükü (Saat)/30*=(0/30) | 0 | |||||
| ECTS of the course: 30 hours of work is counted as 1 ECTS credit. | ||||||
Detail Informations of the Course
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| VISUAL CULTURE | MGS3115595 | Fall Semester | 3+0 | 3 | 6 |
| Course Program | Pazartesi 12:00-12:45 Pazartesi 12:45-13:30 Pazartesi 13:30-14:15 |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Required |
| Course Coordinator | Assist.Prof. Doğa ÇÖL |
| Name of Lecturer(s) | Assist.Prof. Doğa ÇÖL |
| Assistant(s) | |
| Aim | This course introduces the basic concepts and debates of visual culture. Beginning with image, representation, sign, and ideology, it examines seeing as a historical practice through discussions of perspective, modernity, and the gaze. It then considers photography, mechanical reproduction, and everyday image culture, placing visual culture in the contexts of memory, archives, museums, and surveillance. |
| Course Content | This course contains; What Is Visual Culture? How Do Images Produce Meaning?,Ideology, Visuality, and the Viewer’s Production of Meaning,Perspective, Modernity, and New Ways of Seeing,The Gaze, Surveillance, and Power,Photography, Mechanical Reproduction, and Visual Reality,Everyday Photography and Moving Image Culture,Icons, Portraits, and Visualizing the Self,Midterm,Photography, Memory, and Archives,Postmodernism, Aesthetics, and Visual Value,Museums, Classification, and Visual Institutions,Surveillance, Counter-Surveillance, and Visibility,Death, Violence, and the Ethical Limits of Images,War, Technology, and the Aerial View,Countervisuality, Digital Circulation, and Visual Activism,Final Examination. |
| Course Learning Outcomes | Teaching Methods | Assessment Methods |
| Defines the basic concepts of Visual Culture. | 10, 13, 14, 9 | E |
| Applies methods to analyze examples from fine art, photography, film, television, and digital media using explicit visual evidence. | 10, 13, 14 | |
| Evaluates contemporary visual issues such as propaganda, misinformation, taste and judgment, and platform design using course concepts. | 13, 14 | E |
| Analyze digital and algorithmic images with philosophical tools. | 10, 13, 14 | |
| Construct valid arguments in short essays and oral discussion. | 10, 13, 9 | A, E |
| Teaching Methods: | 10: Discussion Method, 13: Case Study Method, 14: Self Study Method, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What Is Visual Culture? How Do Images Produce Meaning? | Sturken and Cartwright (2018), Introduction and pp. 1–21, 24–37 |
| 2 | Ideology, Visuality, and the Viewer’s Production of Meaning | Sturken, pp. 22–24, 37–41, 51–60, 74–86 | Recommended: Mirzoeff, Introduction, pp. 1–28 and Ch. 2 "How We Think About Seeing", pp. 71–98 · Mitchell, "Resimler Ne İster?", Cogito 97, pp. 126–151 (English book selection on MEBİS: What Do Pictures Want?, 2005, pp. 28–56) |
| 3 | Perspective, Modernity, and New Ways of Seeing | Sturken and Cartwright (2018), "Realism and Perspective", pp. 139–178 | Recommended: Mirzoeff, pp. 89–103, 179–185 · Friedberg, "The Mobilized and Virtual Gaze in Modernity", The Visual Culture Reader (1998), pp. 253–262 (abridged selection) |
| 4 | The Gaze, Surveillance, and Power | Sturken, pp. 103–133 | Recommended: Foucault, Hapishanenin Doğuşu, "Panoptikon" (section title in the MEBİS selection: "Görülmeden Gözetim Altında Tutan Hapishane Sistemi") · Mirzoeff, The Right to Look, Introduction, pp. 1–34 |
| 5 | Photography, Mechanical Reproduction, and Visual Reality | Sturken, pp. 185–198 | Recommended: Benjamin, Teknik Olarak Yeniden Üretilebilirlik Çağında Sanat Eseri (English second version on MEBİS: 2008, pp. 19–55) · Sontag, "Platon'un Mağarasında" (MEBİS selection: Turkish translation by Reha Akçakaya, 1999) · Batchen, Burning with Desire, "Identity", pp. 2–21 |
| 6 | Everyday Photography and Moving Image Culture | Sturken, "Advertising and the Rise of Amateur Photography" (2017), author-shared PDF pp. 1–31 · Bordwell, Thompson and Smith, Film Art (13th edition, 2024), "The Significance of Film Form", pp. 50–70 | Recommended: Spigel, "The Suburban Home Companion", pp. 31–59 |
| 7 | Icons, Portraits, and Visualizing the Self | Sturken, pp. 41–48 · Mirzoeff (2015), Ch. 1 "How to See Yourself", pp. 29–70 | Recommended: Senft and Baym, "What Does the Selfie Say?", pp. 1588–1606 · Marwick, "Instafame", pp. 137–160 |
| 8 | Midterm | All topics in the first seven weeks |
| 9 | Photography, Memory, and Archives | Hirsch, Family Frames, Introduction, pp. 1–15 | Recommended: Hirsch and Spitzer, School Photos in Liquid Time, Introduction, pp. 3–44 · Fleetwood, "Posing in Prison", pp. 487–511 |
| 10 | Postmodernism, Aesthetics, and Visual Value | Sturken and Cartwright (2018), "Postmodernism", pp. 301–336 and pp. 60–74 | Recommended: Clifford, "On Collecting Art and Culture", The Visual Culture Reader (1998), pp. 94–107 (abridged selection) · Bourdieu, Ayrım, "Kültürel Soyluluğun Unvanları ve Kademeleri", introductory selection, pp. 25–33 |
| 11 | Museums, Classification, and Visual Institutions | Sturken, pp. 349–357, 406–415 | Recommended: Mathur, "Museums and Globalization", pp. 697–708 · Sekula, "The Body and the Archive", pp. 3–64 |
| 12 | Surveillance, Counter-Surveillance, and Visibility | Browne, Dark Matters, Introduction and Ch. 2, pp. 1–30, 63–88 | Recommended: Mirzoeff, "How Ferguson and #BlackLivesMatter Taught Us Not to Look Away" |
| 13 | Death, Violence, and the Ethical Limits of Images | Zelizer, About to Die, Ch. 1, pp. 1–27 | Recommended: Malkowski, Dying in Full Detail, Introduction, pp. 1–22 |
| 14 | War, Technology, and the Aerial View | Mirzoeff (2015), Ch. 3 "The World of War", pp. 99–128 | Recommended: Kaplan, Aerial Aftermaths, Introduction, pp. 1–33 · Kaplan, "Drone-o-Rama", pp. 161–177 · Stubblefield, "In Pursuit of Other Networks", pp. 195–219 |
| 15 | Countervisuality, Digital Circulation, and Visual Activism | Sturken, pp. 402–406, 415–420 | Recommended: Mirzoeff, Ch. 6–7 and Afterword "Visual Activism", pp. 211–300 · Mirzoeff, "Visualizing the Anthropocene", pp. 213–232 · McKee, Strike Art, Ch. 4 |
| 16 | Final Examination | Weeks 9–15 |
| Resources |
| Batchen, G. (1997). Burning with desire: The conception of photography. MIT Press. Benjamin, W. (2023). Teknik olarak yeniden üretilebilirlik çağında sanat eseri (O. Duman, Çev.). Can Yayınları. Bordwell, D., Thompson, K., & Smith, J. (2024). Film art: An introduction (13. baskı). McGraw-Hill. MEBİS seçkisinin kaynak baskısı. Bordwell, D., & Thompson, K. (2012). Film sanatı: Bir giriş (E. Yılmaz & E. S. Onat, Çev.). De Ki. Bourdieu, P. (2015). Ayrım: Beğeni yargısının toplumsal eleştirisi (D. F. Şannan & A. G. Berkkurt, Çev.). Heretik. Browne, S. (2015). Dark matters: On the surveillance of blackness. Duke University Press. Clifford, J. (1988). On collecting art and culture. The predicament of culture içinde (s. 215–251). Harvard University Press. Fleetwood, N. R. (2015). Posing in prison: Family photographs, emotional labor, and carceral intimacy. Public Culture, 27(3), 487–511. Foucault, M. (2019). Hapishanenin doğuşu (M. A. Kılıçbay, Çev.). İmge. Friedberg, A. (1993). The mobilized and virtual gaze in modernity. Window shopping: Cinema and the postmodern içinde (s. 15–40). University of California Press. Hirsch, M. (1997). Family frames: Photography, narrative, and postmemory. Harvard University Press. Hirsch, M., & Spitzer, L. (2020). School photos in liquid time: Reframing difference. University of Washington Press. Kaplan, C. (2017). Drone-o-rama. L. Parks & C. Kaplan (Ed.), Life in the age of drone warfare içinde (s. 161–177). Duke University Press. Kaplan, C. (2018). Aerial aftermaths: Wartime from above. Duke University Press. Malkowski, J. (2017). Dying in full detail: Mortality and digital documentary. Duke University Press. Marwick, A. E. (2015). Instafame: Luxury selfies in the attention economy. Public Culture, 27(1), 137–160. Mathur, S. (2005). Museums and globalization. Anthropological Quarterly, 78(3), 697–708. McKee, Y. (2016). Strike art: Contemporary art and the post-Occupy condition. Verso. Mirzoeff, N. (2011). The right to look: A counterhistory of visuality. Duke University Press. Mirzoeff, N. (2014). Visualizing the Anthropocene. Public Culture, 26(2), 213–232. Mirzoeff, N. (2015, 10 Ağustos). How Ferguson and #BlackLivesMatter taught us not to look away. The Conversation. Mirzoeff, N. (2015). How to see the world. Pelican. Haftalık sayfaların kaynak nüshası. Mirzoeff, N. (2016). How to see the world. Basic Books. Alternatif baskı. Mitchell, W. J. T. (2020). Resimler ne ister? Cogito, 97, 126–151. Sekula, A. (1986). The body and the archive. October, 39, 3–64. Senft, T. M., & Baym, N. K. (2015). What does the selfie say? Investigating a global phenomenon. International Journal of Communication, 9, 1588–1606. Sontag, S. (1999). Fotoğraf üzerine (R. Akçakaya, Çev., 2. baskı). Altıkırkbeş. MEBİS seçkisinin kaynak baskısı. Sontag, S. (2023). Fotoğraf üzerine (O. Akınhay, Çev.). Can Yayınları. Spigel, L. (2001). The suburban home companion. Welcome to the dreamhouse içinde (s. 31–59). Duke University Press. Stubblefield, T. (2017). In pursuit of other networks: Drone art and accelerationist aesthetics. L. Parks & C. Kaplan (Ed.), Life in the age of drone warfare içinde (s. 195–219). Duke University Press. Sturken, M. (2017). Advertising and the rise of amateur photography: From Kodak and Polaroid to the digital image. Advertising & Society Quarterly, 18(3). Sturken, M., & Cartwright, L. (2018). Practices of looking: An introduction to visual culture (3. baskı). Oxford University Press. Türkçe ders dosyalarının kaynak nüshası. Sturken, M., & Cartwright, L. (2025). Practices of looking: An introduction to visual culture (4. baskı). Oxford University Press. Zelizer, B. (2010). About to die: How news images move the public. Oxford University Press. |
| Required and recommended readings are specified in the weekly course outline. Recommended readings are outside the examination scope unless explicitly assigned in class. Reading PDFs are available under Course Files in MEBİS. Page references use Practices of Looking, 3rd edition (2018), How to See the World, Pelican (2015), and Film Art, 13th edition (2024). The Foucault, Sontag, and McKee selections were converted from source EPUBs. The Sontag selection uses Reha Akçakaya’s Turkish translation (Altıkırkbeş, 1999). |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Knows the basic concepts of Media and Visual Arts disciplines. | X | |||||
| 2 | Knows the basic theories of media and visual arts disciplines. | X | |||||
| 3 | Knows the necessary computer programs and multi-media techniques in Media and Visual Arts. | ||||||
| 4 | Knows the aesthetic rules necessary in Media and Visual Arts. | X | |||||
| 5 | Acts in a way that adheres to national and international ethical codes in professional and scientific studies. | X | |||||
| 6 | Understands the symbol systems of cultures. | X | |||||
| 7 | Analyzes the facts related to Media and Visual Arts in their dimensions. | X | |||||
| 8 | Plans the visual design process in line with the needs of institutions/individuals. | X | |||||
| 9 | Carries out the visual communication process in line with the needs of institutions/individuals. | X | |||||
| 10 | Uses the tools, methods and techniques required for Media and Visual Arts practices. | ||||||
| 11 | Has the ability to produce, process and evaluate real, 2D and 3D images. | X | |||||
| 12 | Applies visual design techniques in new media environments. | ||||||
| 13 | Has aesthetic awareness and understanding of design. | X | |||||
| 14 | Performs their profession by taking into consideration the "Occupational Health and Safety" rules. | ||||||
| 15 | Solve problems that arise by taking responsibility in projects related to Media and Visual Arts. | X | |||||
| 16 | Can transform theoretical and factual problems of Media and Visual Arts disciplines and sub-disciplines into publications using scientific methods. | X | |||||
| 17 | Regularly follows the developments in the field of Media and Visual Arts and uses them effectively in her work. | X | |||||
| 18 | Uses Turkish fluently and accurately in scientific and professional studies. | X | |||||
| 19 | Can read and understand at least one foreign language at B1 level. | ||||||
| 20 | Plans and takes part in social responsibility projects. | ||||||
| 21 | Incorporates artificial intelligence (artificial learning/machine learning) into the creation process. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |