Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | UNI186 | ||||
Course Name: | Film Culture | ||||
Semester: | Spring | ||||
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: | Prof. Dr. AYBİKE SERTTAŞ | ||||
Course Lecturer(s): | Assoc. Prof. Dr. Hasan Gurkan | ||||
Course Assistants: |
Course Objectives: | The purpose of this course is to focus on film and key developments in film technology; dramatic aspects of the narrative film; cinematography, film aesthetics, genres, and auteur study; sociological ramifications of film. |
Course Content: | This course provides an introductory survey of film as a distinct art form that has the ability to reflect, critique, reshape, and impact society and culture. In the course, film narrative formulation and its major formal elements of film: mise-en-scene, cinematography, editing, and sound design are discussed. Besides this, the terminology to critically examine and analyze film, across a variety of genres, in its relationship to various aspects of society and culture (violence, race, class, gender and sexuality, etc.) are also discussed. |
The students who have succeeded in this course;
1) Categorizes the necessary information about cinema aesthetics. 2) Gains an understanding of a variety of cinematic works as products of specific cultures, times, and places. 3) Gains an understanding of critical commentary about film from a multi-disciplinary and inter-disciplinary perspective. |
Week | Subject | Related Preparation |
1) | Introduction to the Course: The main terms on Cinema and Film | |
2) | The main terms on Cinema and Film | |
3) | Counter Cinema | |
4) | Film Style and Film Genres | |
5) | Popular Film Genres | |
6) | Documentary Films | |
7) | Women’s cinema | |
8) | Queer cinema | |
9) | National Cinemas: British Cinema | |
10) | National Cinemas: the Soviet Montage cinema | |
11) | National Cinemas: Turkish Cinema | |
12) | National Cinemas: New German Cinema | |
13) | Cinema and New Media | |
14) | Cultural, Social and Global Effect of Film |
Course Notes / Textbooks: | • Film Art: An Introduction – Bordwell/Thompson – McGraw Hil • Film History: An Introduction – Bordwell/Thompson – McGraw Hil |
References: | IMDB App or Bookmarked ve makaleler / articles |
Course Learning Outcomes | 1 |
2 |
3 |
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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 |
Quizzes | 3 | % 60 |
Final | 1 | % 40 |
total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 60 | |
PERCENTAGE OF FINAL WORK | % 40 | |
total | % 100 |
Activities | Number of Activities | Workload |
Course Hours | 14 | 42 |
Study Hours Out of Class | 14 | 70 |
Quizzes | 3 | 15 |
Final | 1 | 3 |
Total Workload | 130 |