PSYCHOLOGY | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
FTV4903 | Film and Fashion | Spring | 3 | 0 | 3 | 5 |
This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
Language of instruction: | English |
Type of course: | Non-Departmental Elective |
Course Level: | Bachelor’s Degree (First Cycle) |
Mode of Delivery: | Face to face |
Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
Course Lecturer(s): |
Prof. Dr. NİLAY ULUSOY Prof. Dr. HASAN KEMAL SUHER |
Recommended Optional Program Components: | None |
Course Objectives: | The course, offers an interdisciplinary introduction to the field of study of fashion and film. From a historical and theoretical perspective are analyzed aspects of fashion and consumption, as marketing and trends, in relation to film. |
The students who have succeeded in this course; 1. Acquire familiarity with concepts of fashion in relation to cinema in a Turkish as well as international context. 2. Will be competent to formulate research questions concerning fashion and its relation to film material. |
The course's core topics for situating mediated fashion are: modernity, the emergence of cinema and Hollywood's subsequent global dominance, genre film and pop culture. The teaching is bases on a series of lectures with specialists from Turkish fashion and cinema industry. |
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. |
Semester Requirements | Number of Activities | Level of Contribution |
Project | 1 | % 10 |
Midterms | 1 | % 40 |
Final | 1 | % 50 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 40 | |
PERCENTAGE OF FINAL WORK | % 60 | |
Total | % 100 |
Activities | Number of Activities | Workload |
Course Hours | 14 | 42 |
Study Hours Out of Class | 11 | 55 |
Project | 1 | 20 |
Midterms | 1 | 4 |
Final | 1 | 4 |
Total Workload | 125 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Develop close interest in human mind and behavior, and attain critical thinking skills (in particular the ability to evaluate psychological theories using empirical evidence), as well as appreciating psychology as an evidence based science. | |
2) | Gain a biopsychosocial understanding of human behavior, namely, the biological, psychological, social determinants of behavior. | |
3) | Acquire theoretical and applied knowledge and learn about basic psychological concepts and perspectives | |
4) | Familiarize with methodology and data evaluation techniques by being aware of scientific research methods (i.e. correlational, experimental, longitudinal, case study). | |
5) | Employ ethical sensitivity while doing assessment, research or working with groups. | |
6) | Familiarize with the essential perspectives of psychology (cognitive, developmental, clinical, social, behavioral, and biological). | |
7) | Get the opportunity and skills to evaluate qualitative and quantitative data, write reports, and present them. | |
8) | Attain preliminary knowledge for psychological measurement and evaluation. | |
9) | To have a basic knowledge of other disciplines (e.g. sociology, history, political science, communication studies, philosophy, anthropology, literature, law, art, etc) that can contribute to psychology and to be able to make use of this knowledge in understanding and interpreting of psychological process. | 3 |