| Radio, Television and Cinema (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | RTC108 | ||||
| Course Name: | Film History | ||||
| Semester: | Spring | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Compulsory Courses | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Prof. Dr. NEZİH ERDOĞAN | ||||
| Course Lecturer(s): | Nezih Erdoğan | ||||
| Course Assistants: |
| Course Objectives: | To enable the students to see cinema from a historical perspective. To enable them to question the existing narratives of film history. To enable them to compare the varying uses and modes of reception of film medium depending on the socio-cultural context. |
| Course Content: | This course starts out questioning what came as moving images before the films and then looks into the emergence of filmic experience and cinema-going as a modern attribute. It then moves on to a selective survey of major developments in cinema, covering a period between the 1890s and 2000s, from the analogue to the digital. Basically, following the historians David Bordwell and Kristin Thompson, it deals with the questions: 1) How have uses of the film medium changed and or become normalized over time? 2) How have the conditions of the film industry – production, distribution and exhibition – affected the uses of the medium? 3) How have the international trends emerged in the uses of the film medium and the film market? The students will prepare research papers and participate in discussions. |
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The students who have succeeded in this course;
1) Having a command of the basic terms and concepts of film history. 2) having a command of basic formal and stylistic developments in the film. 3) having a command of how social developments, industry and film interact. 4) Having a command of the diverse film practices and modes of reception. 5) Having a command of global and local, national and international aspects of cinema. 6) Having a command of the extent to which art, technology, industry and entertainment co-exist in cinema as a mental institution. |
| Week | Subject | Related Preparation |
| 1) | Introduction: Basic terms and concepts. Explanation of course syllabus; Film Before Film. What came before the cinema? Screening: Film Before Film (Werner Nekes) excerpts | Screening: Film Before Film (Werner Nekes) excerpts |
| 2) | Early cinema I: technology and modernity | |
| 3) | Early Cinema II: cinema-going and spectatorship Istanbul in/and early films | Screening: Istanbul do/redo/undo (2010) |
| 4) | Silent Cinema I: Soviet Cinema | The Cabinet of Dr Caligari (Robert Wiene, 1920) (excerpts) The Last Laugh (F.W. Murnau, 1924) (excerpts) Nosferatu (F.W. Murnau, 1922) (excerpts) |
| 5) | Silent Cinema II: Europe | The Cabinet of Dr Caligari (Robert Wiene, 1920) The Last Laugh (F.W. Murnau, 1924) Nosferatu (F.W. Murnau, 1922) |
| 6) | Hollywood stüdyo sistemi: Orson Welles | Citizen Kane (Orson Welles, 1941) |
| 7) | Classical Hollywood: Alfred Hitchcock | |
| 8) | Italian Neo-realism: Bicycle Thieves | |
| 9) | Indian Cinema and Social Films: Awara | |
| 10) | Non-mainstream cinemas: experimental films, surrealism, animation | |
| 11) | French Art Cinema and the Idea of authorship | |
| 12) | Contemporary Iranian Cinema | Close Up (Abbas Kiarostami, 1995) |
| 13) | The New Turkish Cinema: Zeki Demirkubuz, Reha Erdem, N. B. Ceylan | |
| 14) | From Analogue to Digital | Timecode (Mike Figgis, 2000) Dancer in the Dark (Lars von Trier, 2000) |
| 16) | Final Term Project |
| Course Notes / Textbooks: | David Bordwell, Kristin Thompson, Film History: an Introduction |
| References: | David Bordwell, Kristin Thompson, Film History: an Introduction |
| Course Learning Outcomes | 1 |
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| Program Outcomes | ||||||||||||||
| 1) By providing both theoretical and practical education, it prepares students for academic and business life. | 3 | |||||||||||||
| 2) It provides a critical perspective on mass media. | 3 | |||||||||||||
| 3) With the English curriculum, it allows students to follow the international market and academic studies from original sources. | 3 | |||||||||||||
| 4) Students will be an expert in front of the camera, behind-the-scenes, news center, light, sound, editing, directing, cinematography, screenwriting. | 2 | |||||||||||||
| 5) Thanks to the media professionals, the students will be ready for the sector. | 3 | |||||||||||||
| 6) Acquires production skills such as short and medium films, screenplays, documentaries and TV programs. | 2 | |||||||||||||
| 7) Have the basic knowledge and experience of image technologies. | 3 | |||||||||||||
| 8) Thanks to sectoral cooperation, professional business life will be started. | 2 | |||||||||||||
| 9) Through an applied curriculum, students gain an interdisciplinary perspective on different media studies. | 3 | |||||||||||||
| 10) With the technical training to be taken in studio environment, students gain experience in the sector. | 2 | |||||||||||||
| 11) They will have skills such as negotiating with the group, taking initiative. | 2 | |||||||||||||
| 12) Acquire basic values related to media and business ethics. | 2 | |||||||||||||
| 13) Follow the developments in the field and communicate with colleagues by using a foreign language at least at the level of European Language Portfolio B1. | 1 | |||||||||||||
| 14) Students use information and communication technologies together with computer software at the advanced level of European Computer Driving License required by the field. | 1 | |||||||||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | By providing both theoretical and practical education, it prepares students for academic and business life. | 3 |
| 2) | It provides a critical perspective on mass media. | 3 |
| 3) | With the English curriculum, it allows students to follow the international market and academic studies from original sources. | 3 |
| 4) | Students will be an expert in front of the camera, behind-the-scenes, news center, light, sound, editing, directing, cinematography, screenwriting. | 3 |
| 5) | Thanks to the media professionals, the students will be ready for the sector. | 1 |
| 6) | Acquires production skills such as short and medium films, screenplays, documentaries and TV programs. | 2 |
| 7) | Have the basic knowledge and experience of image technologies. | 2 |
| 8) | Thanks to sectoral cooperation, professional business life will be started. | 2 |
| 9) | Through an applied curriculum, students gain an interdisciplinary perspective on different media studies. | 3 |
| 10) | With the technical training to be taken in studio environment, students gain experience in the sector. | 1 |
| 11) | They will have skills such as negotiating with the group, taking initiative. | 1 |
| 12) | Acquire basic values related to media and business ethics. | 2 |
| 13) | Follow the developments in the field and communicate with colleagues by using a foreign language at least at the level of European Language Portfolio B1. | 3 |
| 14) | Students use information and communication technologies together with computer software at the advanced level of European Computer Driving License required by the field. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Quizzes | 4 | % 40 |
| Homework Assignments | 1 | % 20 |
| Presentation | 1 | % 10 |
| Project | 1 | % 30 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 100 | |
| PERCENTAGE OF FINAL WORK | % | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Study Hours Out of Class | 14 | 70 |
| Presentations / Seminar | 1 | 2 |
| Homework Assignments | 1 | 2 |
| Quizzes | 4 | 8 |
| Midterms | 1 | 4 |
| Final | 1 | 2 |
| Total Workload | 130 | |