Week |
Subject |
Related Preparation |
1) |
Introduction to the course
Film and Fashion, they are just friends |
|
2) |
A Brief History of Cinema
Movements, periods and industry |
|
3) |
A Brief History of Turkish Cinema
Periods, Popular Genres and INdustry |
|
4) |
History and Sociology of Clothing: Some Methodological Observations
|
Barthes, Roland. Language of Fashion, London N.Y. Berg, 2005. pp. 3-33. |
5) |
Fashion as communication
Social Life as a Sign System
Do clothes speak? what makes them fashion?
|
Barnard, Malcom, "Fashion Statements: Communication and Culture", Fashion Theory A Reader, Routledge, 2007. |
6) |
Fashion Fetish and tHe erotic
The ideological genesis of needs
Female Fetishism
The enchanting spectacle of the code |
Steele, Valerie. "fashion and Fetishism", Fashion Theory A Reader, Routledge, 2007, pp. 576-585. |
7) |
Fashion and Modernity
Fashion and the image
Fashion Photography |
Barthes, Roland. "fashion photography", Fashion Theory A Reader, Routledge, 2007. |
8) |
Clothe as a narrativity form in relation with stardom |
Stutesman, Drake, "Storytelling: Marlene Dietrich's Face and John Frederics Hats", Fashioning Film Stars, BFI:2005. |
9) |
Cinema and Haute Couture |
Moseley, Rachel. "Dress, Class, and Audrey Hepburn: THe Significance of the Cindrella Story", Fashioning Film Stars: Dress, Culture ıdentity, London: BFI, 2005, pp.109-120 |
10) |
Kıyafet Güç ve Modern Ölümcül Dişi |
Single White Female, Dir. Barbet Shoeder, 1992. |
11) |
Rough and The Smooth: Male Costuming in Contemporary Hollywood Cinema
|
Ocean's 11 Stephen Soderberg (2001) |
12) |
the dynamics of cross cultural representations
(A Specific Case Ferzan Özpetek's Harem Suare (1999), Magnifica Presenza (2012). |
Harem Suare (1999), Magnifica Presenza (2012). |
13) |
The Business and art of creating costumes for film and tv |
|
14) |
film screening: Fashion Adventure of Turkey
Dir. Enis Rıza, Bahriye K. Dal 2011
Conversation: Bahriye K. Dal
Gülhan D. Varank (executive productor) |
|
Course Notes / Textbooks: |
selected readings from this books below:
Fashion in Film: Adrienne Munich, Indiana University Press: 2011
Fashion Theory: A Reader, Malcom Barnard: Routledge, 2007
Undressing Cinema: Clothing and Identities in the Movies, Stella Bruzzi: Routledge, 1997.
|
References: |
1. Barthes, Roland, The Language of Fashion (Oxford: Berg, 2004.
2. Bruzzi, Stella och Pamela Church Gibson (red), Fashion Cultures: Theories, Explorations and Analysis (London:Taylor & Francis 2000)
3. Barnard, Malcom (eds) Fashion Theory A Reader London, N.Y., Routledge, 2007.
4. Bruzzi, Stella, Undressing Cinema: Clothing and Identity in the Movies (London/New York: Routledge,1997)
5. Moseley, Rachel, Fashioning Film Stars: Dress, Culture, Identity (London: BFI, 2005)
6. Steele, Valerie (eds) Fashion Theory, The Journal of Dress, Body and Culture, Vol 6, Issue 4, December 2002. |
|
Program Outcomes |
Level of Contribution |
1) |
They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). |
2 |
2) |
They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. |
2 |
3) |
They are aware of national and international values in performing arts. |
2 |
4) |
Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. |
1 |
5) |
They have the sensitivity to run a business successfully in their field. |
3 |
6) |
Develops the ability to perceive, think, design and implement multidimensional from local to universal. |
3 |
7) |
They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. |
2 |
8) |
They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. |
3 |
9) |
They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. |
1 |
10) |
They follow English language resources related to their field and can communicate with foreign colleagues in their field. |
1 |
11) |
By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. |
3 |
12) |
They can produce original works within the framework of an interdisciplinary understanding of art. |
2 |
13) |
Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. |
3 |
14) |
Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. |
2 |
15) |
They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. |
3 |