BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| PERFORMING ARTS | |||||
| 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 Fall |
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 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. |
Learning Outcomes
|
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. |
Course Content
| 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. |
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) | 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 |