FILM AND TELEVISION | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | FTV4935 | ||||||||
Ders İsmi: | Narrative Scene Analysis | ||||||||
Ders Yarıyılı: |
Fall Spring |
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Ders Kredileri: |
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Language of instruction: | English | ||||||||
Ders Koşulu: | |||||||||
Ders İş Deneyimini Gerektiriyor mu?: | No | ||||||||
Type of course: | Departmental Elective | ||||||||
Course Level: |
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Mode of Delivery: | Face to face | ||||||||
Course Coordinator : | Prof. Dr. NİLAY ULUSOY | ||||||||
Course Lecturer(s): |
Dr. CİHAT ARINÇ |
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Course Assistants: |
Course Objectives: | The purpose of the course is to give students the tools to understand how narrative cinema works from an aesthetic perspective. In the course we watch films, and by analysing both the orginal scripts and the final product on the screen we attempt to answer these 2 questions: 1) what is the effect the director wants to create with the film; and 2) how does the director use the elements of cinema to create this effect? The “elements of cinema” specifically refer to: the narrative structure in the screenplay; the choice of actors, locations, lighting, camera positions, and lenses; the style of acting; the approach to the editing; use of music and sound; and how all of these elements tie into the larger issue of “point of view” in a cinematic sense. |
Course Content: | Every week we screen one feature length film. Also, the original script for 1 scene from the film is given to the students, along with a series of questions about that scene. The students have one week to write the answers to the questions. In the following week we watch the scene again and have a lecture where we answer the questions about that scene that were given the week before. |
The students who have succeeded in this course;
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Week | Subject | Related Preparation |
1) | Course introduction. | none |
2) | Screening of the film “Sideways”. Understanding of how to break a scene down. Introduction to conventional narrative language. | |
3) | Screening of the film "The Insider”. Creating a deeper emotional point of view via camera and lense choice. | |
4) | Screening of the film “Lost Highway”. Taking point of view deeper into the unconsciousness. Use of a dynamic sound mix to play with and shift point of view. | |
5) | Screening of the film “La Promesse”. Understanding what “naturalism” means and how to achieve it in cinema. Restricted point of view in the emotional plane. | |
6) | Screening of the film “Elephant”. Extreme restriction of point of view beyond the audiences expectations. Introduction to large scale narrative structure. | |
7) | Screening of the film “Days of Heaven”. Discussion of displaced point of view in narration. | |
8) | Screening of the film “Bad Lands”. Understanding of the effect of a displaced point of view, what kind of emotional effect this produces. | |
9) | Screening of the film “The Limey”. Discussion of uncertain point of view in narration. | |
10) | Screening of the TV shows “The Office” & “Curb Your Enthusiasm”. Understanding of elements of traditional sit-com formal elements, and seeing new directions in the form. | |
11) | Screening of the film “Crouching Tiger, Hidden Dragon”. Understanding of genre expectations. Formal elements of action sequences and how to play with them. | |
12) | Screening of the film “Secrets and Lies”. Depth of characterization and multiple restricted point of views. | |
13) | Screening of the film “L’Argent”. Restriction of formal qualities to bring out pure cinematic effects. | |
14) | Screening of the film “Dark Water”. Use of cinematic elements and point of view in creating effects in the horror genre. Final lecture. Recap of all subjects covered in the semester into a complete picture of how narration in cinema works. |
Course Notes / Textbooks: | Yok. |
References: | None. |
Ders Öğrenme Kazanımları | |||||||||||
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Program Outcomes | |||||||||||
1) Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | |||||||||||
2) Having comprehensive knowledge regarding different media and branches of art | |||||||||||
3) Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | |||||||||||
4) Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | |||||||||||
5) Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | |||||||||||
6) Being able to write a script ready to be shot | |||||||||||
7) Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | |||||||||||
8) Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | |||||||||||
9) Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | |||||||||||
10) Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | |||||||||||
11) Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | |||||||||||
12) Having ethical values and a sense of social responsibility |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 1 |
2) | Having comprehensive knowledge regarding different media and branches of art | 4 |
3) | Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | 3 |
4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 5 |
5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 4 |
6) | Being able to write a script ready to be shot | 3 |
7) | Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | 4 |
8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | 1 |
9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | 1 |
10) | Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | 4 |
11) | Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 5 |
12) | Having ethical values and a sense of social responsibility | 3 |
Semester Requirements | Number of Activities | Level of Contribution |
Homework Assignments | 6 | % 40 |
Presentation | 2 | % 20 |
Final | 1 | % 40 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 60 | |
PERCENTAGE OF FINAL WORK | % 40 | |
Total | % 100 |
Activities | Number of Activities | Duration (Hours) | Workload |
Course Hours | 14 | 3 | 42 |
Study Hours Out of Class | 14 | 3 | 42 |
Presentations / Seminar | 2 | 3 | 6 |
Homework Assignments | 6 | 6 | 36 |
Final | 1 | 4 | 4 |
Total Workload | 130 |