| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | UNI341 | ||||
| Course Name: | Digital Media and Social Media Management | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Dr. Öğr. Üy. NAİM ÇETİNTÜRK | ||||
| Course Lecturer(s): | Dr. Naim Çetintürk | ||||
| Course Assistants: |
| Course Objectives: | The general aim of the course is to examine and learn all the phases, characteristics, dynamics, elements and application forms of the concept of marketing in cyber environments as a result of developing technological and communication opportunities. The general objectives of the course are to examine and learn marketing models, advertising and public relations practices, new concepts and developing marketing strategies, digital marketing campaigns, positioning of brands in the digital environment, e-commerce and mobile marketing applications in digital environments. |
| Course Content: | The content of this course includes Search Engine Ads, Search Engine Optimization, Web concept, Social Media and changing e-commerce trends in the digital environment. Data and applications for the digitalization of the 4P approach defined as the marketing mix are presented. In addition, digital brand and digital marketing trends are discussed in a world where social media has transformed from content to e-commerce environment. |
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The students who have succeeded in this course;
1) To examine the concepts related to cyber environment and to have the knowledge of evaluating the processes within the framework of historical development 2) To learn the qualities of marketing strategies and practices in the digital environment 3) To examine Digital Campaign applications and gain the competence to actively apply them 4) To follow the developments of digital marketing dynamics, to design future designs and to gain the ability to evaluate the digital world with a marketing perspective on the axis of trade 5) To be able to use the basic aspects of digital marketing tools with the applications to be made, to be able to read and analyze performance and campaign metrics 6) To be aware of the concept of S-Trade, the trend of commerce in the near future, before anyone else |
| Week | Subject | Related Preparation |
| 1) | Definition, elements and development of Digital Marketing. Similarities and differences, advantages and disadvantages of conventional and digital marketing | |
| 2) | Digital marketing advertising models - Banner, Search, Video & In-Stream, Email etc. | |
| 3) | Consumer targeting models in digital marketing APPLICATION: Create a new campaign and set a targeting method via Google Ads dashboard | |
| 4) | Performance measurement parameters - Volume, Impression, Click, Conversion, Action. PRACTICE: Interpreting data from a real campaign. | |
| 5) | Pricing and performance conversion metrics - CPM, CPC, CPA etc. PRACTICE: Analyzing and interpreting the performance metrics of a real campaign. | |
| 6) | Supportive digital marketing applications (SMS, Mailing, WebPush, App Push) | |
| 7) | SEO - Search engine optimization: Definition of the concept, key components | |
| 8) | Midterm Exam | |
| 9) | (SERP) - Elements required to be listed in search engines (Title, Meta-Description, h1-h2-h3 headings, etc.) | |
| 10) | SEO Analysis Tools - Supporting applications (backlink, Domain Rating etc.) | |
| 11) | Social media as a digital marketing channel. Influencer Marketing - Social Marketing and S-Commerce concepts. Performance measurement metrics such as engagement, likes and shares. | |
| 12) | Facebook and Instagram Ads. Steps to create a social media campaign. PRACTICE: Interpreting data from a real campaign | |
| 13) | Influencer marketing. S-Commerce Concept and Content Management in Social Media (Content Marketing) | |
| 14) | Site Analytics Tools - Introduction to Google Analytics PRACTICE: Interpreting site performance metrics of a real website. |
| Course Notes / Textbooks: | Naim Çetintürk, Temel Dijital Pazarlama Kavramları ve Remarketing Reklam Modeli, Seçkin Yayıncılık, 2019. |
| References: | Social Media Strategies for Small Businesses, Phole Media, 2010. Damien Ryan, The Best Digital Marketing Campaigns in theWorld II, Kogan Page. Haftalık ders sunumları |
| Course Learning Outcomes | 1 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | ||||||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | ||||||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | ||||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | ||||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | ||||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | ||||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | ||||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | ||||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 4 | % 40 |
| Midterms | 1 | % 10 |
| Final | 1 | % 50 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| total | % 100 | |