BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| ADVERTISING | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| 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. |
Basic information
| 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 |
| Recommended Optional Program Components: | Recommended optional components for the Film and Fashion course include workshops on costume design, focusing on how to create visually compelling looks that enhance character development and storytelling. Collaborations with fashion design or textile departments can provide hands-on experience in designing and sourcing costumes for film projects. Elective courses such as fashion history, visual storytelling, and color theory offer deeper insights into the interplay between fashion and cinema. Guest lectures by costume designers, stylists, and filmmakers provide professional perspectives on industry practices. Screenings of iconic films with notable costume design, followed by discussions, inspire students and help them analyze the cultural and narrative impact of fashion in film. |
| 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. |
Learning Outcomes
|
The students who have succeeded in this course; 1. students will be able to understand the relationship between the fashion phenomenon and the film industry in general. 2 students will be able to understand the meaning created by costumes and their importance in film narrative in general terms. 3 students will be able to have a general knowledge about fashion theories. 4 students will be able to have a general knowledge about the history of cinema. 5 students will be able to anticipate how fashion trends and fashions influence both everyday life and audiovisual narratives and vice versa |
Course Content
| The course examines mediated fashion within the context of modernity, the emergence of cinema, Hollywood's global dominance, genre film, and pop culture. Instruction is delivered through lectures by experts from the Turkish fashion and cinema industries, while student performance is evaluated based on class participation, written assignments, and final projects. |
Weekly Detailed Course Contents
| 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) |
Sources
| 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. |
Evaluation System
| 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 | |
ECTS / Workload Table
| 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 | |
Contribution of Learning Outcomes to Programme Outcomes
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To prepare students to become communication professionals by focusing on strategic thinking, professional writing, ethical practices, and the innovative use of both traditional and new media | 2 |
| 2) | To be able to explain and define problems related to the relationship between facts and phenomena in areas such as Advertising, Persuasive Communication, and Brand Management | |
| 3) | To critically discuss and interpret theories, concepts, methods, tools, and ideas in the field of advertising | |
| 4) | To be able to follow and interpret innovations in the field of advertising | |
| 5) | To demonstrate a scientific perspective in line with the topics they are curious about in the field. | |
| 6) | To address and solve the needs and problems of the field through the developed scientific perspective | |
| 7) | To recognize and understand all the dynamics within the field of advertising | |
| 8) | To analyze and develop solutions to problems encountered in the practical field of advertising |