Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| FILM THEORIES | - | Fall Semester | 3+0 | 3 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | Short Cycle (Associate's Degree) |
| Course Type | Required |
| Course Coordinator | Lect. Sonıa LOTFI |
| Name of Lecturer(s) | Lect. Fatih ÇEVİK |
| Assistant(s) | |
| Aim | The answer to the question of when video becomes art will be sought. |
| Course Content | This course contains; What is film theory? What are the reasons for the emergence of theories in cinema? Two trends emerged at the beginning of cinema: the documentary approach of the Lumierre Brothers and the fictional approach of Melies. The birth of realism and formalism: formalism or realism in cinema?,The first film theorists and pioneers of the formalist tradition: Münsterberg and Arnheim Other theorists of formalist theory: Soviet assembly theory (Kuleshov, Eisenstein, Pudovkin, Vertov) Realistic film theorists: Kracauer and Andre,What is neorealism? What does it defend? :Rossellini, Visconti, Vittorio de Sica,New Wave Theory and Movement: Auteur Theory, Andre Bazin, Jean-Luc Godard, Alain Resnais, Alexandre Astruc,Marxism and Cinema: Cinema Criticism of the Frankfurt School Vertov again: What does cinema serve?,Psychoanalysis and Cinema Cinema Screen-Mirror: Bazin's window, Mitry's frame• Film and,Feminism and Cinema, Laure Mulvey: Visual Pleasure and Narrative Cinema,Star system in cinema,Genre in cinema: melodrama, western, horror, comedy, musical,Watching and reception in cinema: Audience research (Jean-Louis Baudry),Semiotics: Umberto Eco, Jean Mitry, Christian Metz, Peter Wollen, Roland Barthes,Digitalization in cinema: Lev Manovich, John Belton, Kristen Whissel,Cinema and Philosophy: Gilles Deleuze,Cinema and mass communication. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| 1. While it sheds light on the basic ideas that constitute the theories put forward about cinema and video art, also has the feature of discussing the positive or negative aspects of these theories. | 16 | A, E, F |
| 2. The theories that have been put forward are explained by watching the works that show the features of this theory, and evaluations will be made about the emergence of cinema, its development as a sector, and the solution to the ethical problems that arise. | 10, 16, 6 | A, E, F |
| 3. Evaluate critical and theoretical debates on cinema or/and on particular films within differents interpretive frameworks. | 10, 6 | A, E, F, H |
| 4. Develop the skills to analyse written and audio-visual texts. | 11, 16, 19, 6, 8, 9 | A, E, F |
| 5. Defines and interprets the current issues and questions central to and contemporary debates related to cinema. | 10, 11, 19, 6, 8 | A, E, F |
| Teaching Methods: | 10: Discussion Method, 11: Demonstration Method, 16: Question - Answer Technique, 19: Brainstorming Technique, 6: Experiential Learning, 8: Flipped Classroom Learning, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework, F: Project Task, H: Performance Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What is film theory? What are the reasons for the emergence of theories in cinema? Two trends emerged at the beginning of cinema: the documentary approach of the Lumierre Brothers and the fictional approach of Melies. The birth of realism and formalism: formalism or realism in cinema? | |
| 2 | The first film theorists and pioneers of the formalist tradition: Münsterberg and Arnheim Other theorists of formalist theory: Soviet assembly theory (Kuleshov, Eisenstein, Pudovkin, Vertov) Realistic film theorists: Kracauer and Andre | |
| 3 | What is neorealism? What does it defend? :Rossellini, Visconti, Vittorio de Sica | |
| 4 | New Wave Theory and Movement: Auteur Theory, Andre Bazin, Jean-Luc Godard, Alain Resnais, Alexandre Astruc | |
| 5 | Marxism and Cinema: Cinema Criticism of the Frankfurt School Vertov again: What does cinema serve? | |
| 6 | Psychoanalysis and Cinema Cinema Screen-Mirror: Bazin's window, Mitry's frame• Film and | |
| 7 | Feminism and Cinema, Laure Mulvey: Visual Pleasure and Narrative Cinema | |
| 8 | Star system in cinema | |
| 9 | Genre in cinema: melodrama, western, horror, comedy, musical | |
| 10 | Watching and reception in cinema: Audience research (Jean-Louis Baudry) | |
| 11 | Semiotics: Umberto Eco, Jean Mitry, Christian Metz, Peter Wollen, Roland Barthes | |
| 12 | Digitalization in cinema: Lev Manovich, John Belton, Kristen Whissel | |
| 13 | Cinema and Philosophy: Gilles Deleuze | |
| 14 | Cinema and mass communication |
| Resources |
| Erkılıç, S. D. (2014). History and memory in Turkish cinema. Say Cinema. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | To be able to understand the basic concepts of Radio and Television. | X | |||||
| 2 | Will be able to master general action in radio and tlevision systems | X | |||||
| 3 | Will be able to master legislation of radio and television systems | X | |||||
| 4 | Will be able to obtain basic law and business ethics. | X | |||||
| 5 | Will be able to obtain written and verbal informations | X | |||||
| 6 | Will be able to comment and evaluate concerning with course of legislation | X | |||||
| 7 | Will be pursuit and dissolution on account of transaction and affairs of legislation | ||||||
| 8 | Wiil be able to know English and information technology required to provide services. | ||||||
| 9 | Will be able to apply radio and tlevision process in the direct of course information, in accordance with team work or self study. | X | |||||
| 10 | Will be able to obtain ability of making a decision autonomously and using initiative. | X | |||||
| 11 | Will be able to know importance of life long learning, following changings about social insurance and obtain ability of evaluation. | X | |||||
| 12 | Will be able to verbalisation and deposition about radio and television. | X | |||||
| 13 | Will be able to reply by using information technologies to other persons and institues. | ||||||
| 14 | Will be able to maintain process about social insurance in accordance with abilities. | X | |||||
| 15 | Will be able to be aware of professional ethics, responsibility, quality, law and treat fairly. | X | |||||
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 |
|---|---|---|---|---|---|
| FILM THEORIES | - | Fall Semester | 3+0 | 3 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | Short Cycle (Associate's Degree) |
| Course Type | Required |
| Course Coordinator | Lect. Sonıa LOTFI |
| Name of Lecturer(s) | Lect. Fatih ÇEVİK |
| Assistant(s) | |
| Aim | The answer to the question of when video becomes art will be sought. |
| Course Content | This course contains; What is film theory? What are the reasons for the emergence of theories in cinema? Two trends emerged at the beginning of cinema: the documentary approach of the Lumierre Brothers and the fictional approach of Melies. The birth of realism and formalism: formalism or realism in cinema?,The first film theorists and pioneers of the formalist tradition: Münsterberg and Arnheim Other theorists of formalist theory: Soviet assembly theory (Kuleshov, Eisenstein, Pudovkin, Vertov) Realistic film theorists: Kracauer and Andre,What is neorealism? What does it defend? :Rossellini, Visconti, Vittorio de Sica,New Wave Theory and Movement: Auteur Theory, Andre Bazin, Jean-Luc Godard, Alain Resnais, Alexandre Astruc,Marxism and Cinema: Cinema Criticism of the Frankfurt School Vertov again: What does cinema serve?,Psychoanalysis and Cinema Cinema Screen-Mirror: Bazin's window, Mitry's frame• Film and,Feminism and Cinema, Laure Mulvey: Visual Pleasure and Narrative Cinema,Star system in cinema,Genre in cinema: melodrama, western, horror, comedy, musical,Watching and reception in cinema: Audience research (Jean-Louis Baudry),Semiotics: Umberto Eco, Jean Mitry, Christian Metz, Peter Wollen, Roland Barthes,Digitalization in cinema: Lev Manovich, John Belton, Kristen Whissel,Cinema and Philosophy: Gilles Deleuze,Cinema and mass communication. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| 1. While it sheds light on the basic ideas that constitute the theories put forward about cinema and video art, also has the feature of discussing the positive or negative aspects of these theories. | 16 | A, E, F |
| 2. The theories that have been put forward are explained by watching the works that show the features of this theory, and evaluations will be made about the emergence of cinema, its development as a sector, and the solution to the ethical problems that arise. | 10, 16, 6 | A, E, F |
| 3. Evaluate critical and theoretical debates on cinema or/and on particular films within differents interpretive frameworks. | 10, 6 | A, E, F, H |
| 4. Develop the skills to analyse written and audio-visual texts. | 11, 16, 19, 6, 8, 9 | A, E, F |
| 5. Defines and interprets the current issues and questions central to and contemporary debates related to cinema. | 10, 11, 19, 6, 8 | A, E, F |
| Teaching Methods: | 10: Discussion Method, 11: Demonstration Method, 16: Question - Answer Technique, 19: Brainstorming Technique, 6: Experiential Learning, 8: Flipped Classroom Learning, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework, F: Project Task, H: Performance Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | What is film theory? What are the reasons for the emergence of theories in cinema? Two trends emerged at the beginning of cinema: the documentary approach of the Lumierre Brothers and the fictional approach of Melies. The birth of realism and formalism: formalism or realism in cinema? | |
| 2 | The first film theorists and pioneers of the formalist tradition: Münsterberg and Arnheim Other theorists of formalist theory: Soviet assembly theory (Kuleshov, Eisenstein, Pudovkin, Vertov) Realistic film theorists: Kracauer and Andre | |
| 3 | What is neorealism? What does it defend? :Rossellini, Visconti, Vittorio de Sica | |
| 4 | New Wave Theory and Movement: Auteur Theory, Andre Bazin, Jean-Luc Godard, Alain Resnais, Alexandre Astruc | |
| 5 | Marxism and Cinema: Cinema Criticism of the Frankfurt School Vertov again: What does cinema serve? | |
| 6 | Psychoanalysis and Cinema Cinema Screen-Mirror: Bazin's window, Mitry's frame• Film and | |
| 7 | Feminism and Cinema, Laure Mulvey: Visual Pleasure and Narrative Cinema | |
| 8 | Star system in cinema | |
| 9 | Genre in cinema: melodrama, western, horror, comedy, musical | |
| 10 | Watching and reception in cinema: Audience research (Jean-Louis Baudry) | |
| 11 | Semiotics: Umberto Eco, Jean Mitry, Christian Metz, Peter Wollen, Roland Barthes | |
| 12 | Digitalization in cinema: Lev Manovich, John Belton, Kristen Whissel | |
| 13 | Cinema and Philosophy: Gilles Deleuze | |
| 14 | Cinema and mass communication |
| Resources |
| Erkılıç, S. D. (2014). History and memory in Turkish cinema. Say Cinema. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | To be able to understand the basic concepts of Radio and Television. | X | |||||
| 2 | Will be able to master general action in radio and tlevision systems | X | |||||
| 3 | Will be able to master legislation of radio and television systems | X | |||||
| 4 | Will be able to obtain basic law and business ethics. | X | |||||
| 5 | Will be able to obtain written and verbal informations | X | |||||
| 6 | Will be able to comment and evaluate concerning with course of legislation | X | |||||
| 7 | Will be pursuit and dissolution on account of transaction and affairs of legislation | ||||||
| 8 | Wiil be able to know English and information technology required to provide services. | ||||||
| 9 | Will be able to apply radio and tlevision process in the direct of course information, in accordance with team work or self study. | X | |||||
| 10 | Will be able to obtain ability of making a decision autonomously and using initiative. | X | |||||
| 11 | Will be able to know importance of life long learning, following changings about social insurance and obtain ability of evaluation. | X | |||||
| 12 | Will be able to verbalisation and deposition about radio and television. | X | |||||
| 13 | Will be able to reply by using information technologies to other persons and institues. | ||||||
| 14 | Will be able to maintain process about social insurance in accordance with abilities. | X | |||||
| 15 | Will be able to be aware of professional ethics, responsibility, quality, law and treat fairly. | X | |||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 40 | |
| Rate of Final Exam to Success | 60 | |
| Total | 100 | |