| FILM AND TELEVISION | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | INT4921 | ||||||||
| Ders İsmi: | Design Semiotics | ||||||||
| Ders Yarıyılı: |
Spring Fall |
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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: | Non-Departmental Elective | ||||||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||||||
| Course Coordinator : | Assoc. Prof. SEZİN HATİCE TANRIÖVER | ||||||||
| Course Lecturer(s): |
Assoc. Prof. SEZİN HATİCE TANRIÖVER |
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| Course Assistants: |
| Course Objectives: | This course aims to make students able to use knowledge of basic semiotics as a tool in designing process and as a method for the analysis and evaluations of the interior architectural projects. |
| Course Content: | 1.Introductıon ‘Design as Communication’ Movie and discussion 2.‘Design as Communication’ ‘Parts of Meaning Production: Sender-receiver 3.‘Design as Communication’ ‘Parts of Meaning Production: Massage – (signifier / sign / signified) (Movie:Limits of Control / Jim Jarmusch) 4.‘Design as Communication’ ‘Parts of Meaning Production: Code Movie and Discussion 5.‘Design as Communication’ ‘Parts of Meaning Production: Context 6.‘Design as Communication’ ‘Parts of Meaning Production: Channel Reading and Discussion 7‘Design as Communication’ ‘Parts of Meaning Production: Medium 8. Interpretations: ‘Design as Text’Concept 9. Interpretations: ‘Design as Text’Concept 10. Interpretations of Architectural SpaceConcept 11. Interpretations of Architectural Space Individual Researches and Presentations 12. Interpretations of Architectural Space Individual Researches and Presentations 13. Interpretations of Architectural Space Individual Researches and Presentations 14. Review |
The students who have succeeded in this course;
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| Week | Subject | Related Preparation |
| 1) | Introductıon ‘Design as Communication’ Movie and discussion | |
| 2) | ‘Design as Communication’ ‘Parts of Meaning Production: Sender-receiver | |
| 3) | ‘Design as Communication’ ‘Parts of Meaning Production: Massage – (signifier / sign / signified) (Movie:Limits of Control / Jim Jarmusch) | |
| 4) | ‘Design as Communication’ ‘Parts of Meaning Production: Code Movie and Discussion | |
| 5) | ‘Design as Communication’ ‘Parts of Meaning Production: Context | |
| 6) | ‘Design as Communication’ ‘Parts of Meaning Production: Channel Reading and Discussion | |
| 7) | ‘Design as Communication’ ‘Parts of Meaning Production: Medium | |
| 8) | Interpretations: ‘Design as Text’Concept | |
| 9) | Interpretations: ‘Design as Text’ Concept | |
| 10) | Interpretations of Architectural Space Concept | |
| 11) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 12) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 13) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 14) | Review |
| Course Notes / Textbooks: | Chandler, Daniel. 2002. Semiotics: The Basics New York: Routledge / Barnard, Malcolm. 1996. Fashion as Communication. London: Routledge. |
| References: | Chandler, Daniel. 2002. Semiotics: The Basics New York: Routledge / Barnard, Malcolm. 1996. Fashion as Communication. London: Routledge. |
| 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 | 4 |
| 2) | Having comprehensive knowledge regarding different media and branches of art | 3 |
| 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 | 1 |
| 4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 1 |
| 5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 2 |
| 6) | Being able to write a script ready to be shot | 2 |
| 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 | 3 |
| 12) | Having ethical values and a sense of social responsibility | 5 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 5 |
| Presentation | 1 | % 15 |
| Project | 1 | % 15 |
| Midterms | 1 | % 25 |
| 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 | 1 | 14 |
| Presentations / Seminar | 2 | 4 | 8 |
| Project | 3 | 4 | 12 |
| Midterms | 1 | 12 | 12 |
| Final | 1 | 12 | 12 |
| Total Workload | 100 | ||