| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | NMC004 | ||||
| Course Name: | Gender and Media | ||||
| 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: | Doç. Dr. HASAN GÜRKAN | ||||
| Course Lecturer(s): | Assoc. Prof. Dr. Hasan Gürkan | ||||
| Course Assistants: |
| Course Objectives: | The purpose of this course is to examine the role of media in constructing gender and its intersections with race, ethnicity, class, and sexuality. This course recognizes the importance of diversity in media industries and addresses the role of new media technologies in challenging and/or reaffirming traditional constructions of gender |
| Course Content: | This course examines representations of race, class, gender, and sexual identity in the media. In the course, the students will be considering issues of authorship, spectatorship, audience and the ways in which various media content (film, television, print journalism, advertising) enables, facilitates, and challenges these social constructions in society. Moreover, the students will examine how gender and race affects the production of media and discuss the impact of new media and digital media and how it has transformed access and participation, moving contemporary media users from a traditional position of readers to writers and/or commentators. Students will analyze gendered language and embodiment as it is produced online in blogs and vlogs, avatars, and in the construction of cyberidentities. The course provides an introduction to feminist approaches to media studies by drawing from work in feminist film theory, journalism, cultural studies, gender and politics, and cyberfeminism. |
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The students who have succeeded in this course;
1) Recognize diversity across audiences, content and producers of media 2) Identify stereotypes of gender, race, class, and sexual identity in media portrayals 3) Locate examples of framing, intersectionality, and symbolic annihilation in media 4) Analyze texts in context of cultural and social identities, considering how reality is socially and discursively constructed by media 5) Discuss media literacy in contemporary terms, in light of 21st century developments in online cultural production and new media 6) Understand key theories and methods of studying media, power, and social identities |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course and discussion on ‘Why Study Gender and Media?’ | |
| 2) | Sex/Gender and the Media: From Sex Roles to Social Construction and Beyond” | |
| 3) | Feminist Perspectives on the Media | |
| 4) | Feminist Perspectives on the Media / Assignment 1: Performing Gender | |
| 5) | Gender in Media Industries (Media Organizations, Film Industry, Public Relations and Advertisement) | |
| 6) | Gender in Media Industries (Media Organizations, Film Industry, Public Relations and Advertisement) | |
| 7) | Men, Women, and Queer Individuals and Visibility in the Media | |
| 8) | Men, Women, and Queer Individuals and Visibility in the Media / Assignment 2: Visibility | |
| 9) | Gender and Representation | |
| 10) | Gender and Representation | |
| 11) | Bodies, Celebrity and Self-Branding | |
| 12) | Discussions | |
| 12) | Discussions | |
| 12) | Discussions | |
| 13) | Digital Culture: Gender and Online Self-Presentation | |
| 14) | Gender and Online Activism |
| Course Notes / Textbooks: | - David Gauntlett (2008), Media, Gender and Identitiy: An Introduction, Routledge. - Cynthia Carter and Linda Steiner (2004), Critical Readings: Media and Gender. Open University Press. |
| References: | Books, Articles, Films, TV series, and new media contents |
| Course Learning Outcomes | 1 |
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3 |
4 |
5 |
6 |
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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 |
| Attendance | 14 | % 10 |
| Homework Assignments | 2 | % 55 |
| Final | 1 | % 35 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 65 | |
| PERCENTAGE OF FINAL WORK | % 35 | |
| total | % 100 | |
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 3 | 42 | ||||
| Study Hours Out of Class | 3 | 6 | 18 | ||||
| Project | 3 | 9 | 27 | ||||
| Homework Assignments | 2 | 10 | 20 | ||||
| Final | 1 | 7 | 7 | ||||
| Total Workload | 114 | ||||||