PSYCHOLOGY
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
FTV4907	Experimental Cinema	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 :	Dr. Öğr. Üyesi DENİZ GÜRGEN
Course Lecturer(s):	Dr. Öğr. Üyesi DENİZ GÜRGEN
Recommended Optional Program Components:	None
Course Objectives:	The course is designed to focus on understanding the ideas that influenced the developments in the history of experimental cinema and exploring the fundamental issues involved in the creation and exploration of alternative approaches to form a visual language. The students will study a wide range of works from the pioneers to the contemporary; learn the technical and aesthetic aspects of experimental cinema and sound to discover new art forms, expressions and meanings.

Learning Outcomes

The students who have succeeded in this course;
1. Will be able to discuss some of the fundamental issues in the semiotics of experimental cinema and video art.
2. Will be able to analyze the history of experimental movements in cinema and their relations with the other genres and the arts.

Course Content

In this course, theories about experimental cinema, film languages and the experimental cinema- mainstream cinema relations will be explore.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	Orientation
2)	Exploration of experimental approaches to cinema	Reading: A. L. Rees, A History of Experimental Film and Video, Pp.1-14 Screening: Return to Reason, 1923, Man Ray Entr’acte, 1924, Réne Clair
3)	Interpretation of imagery in avant – garde aesthetics	Readings: P. Adams Sitney, Visionary Film Meshes of the Afternoon, Pp.3-16 Stan Brakhage, Film and Reality, Metaphors of Vision, Pp.228-234 Screening: Ballet Mécanique, 1924, Fernand Léger & Dudley Murphy Anémic Cinema, 1926, Marcel Duchamp
4)	Experimentations in art and cinema	Reading: A. L. Rees, A History of Experimental Film and Video, Pp.15-28 Suggested Reading: P. Adams Sitney, Visionary Film, Ritual and Nature, Pp.20-46 Screenings: Un Chien Andalou, 1928, Salvador Dali & Luis Bunuel Blood of a Poet, 1930, Jean Cocteau
5)	Introduction to alternative methods & techniques	Reading: A. L. Rees, A History of Experimental Film and Video, Pp.28-47 Screening: Meshes of the Afternoon, 1943, Maya Deren & Alexander Hammid La Jetee, 1962, Chris Marker
6)	Discovery of new visions	Reading: Bill Viola, Illuminating Video, Video Black-The Mortality of the Image, Pp.477-486 Suggested Reading: Peter Gidal, Experimental Cinema, The Film Reader, An Interview with Hollis Frampton, Pp.273- 280 Screenings: Fuses, 1965, Carolee Schreeman Zorns Lemma, 1970, Hollis Frampton
7)	Restructuring and reinventing the relations between text, image and sound	Reading: A. L. Rees, A History of Experimental Film and Video, Video Stirs, Pp.87-89 Suggested Reading: Yoko Ono, Screen Writings, Mini Film Scripts, Pp.18-30 Screenings: Flux Film Anthology Works of Tony Oursler
8)	Fundamental issues and key concepts of non-narrative structures	Reading: Paul Schimmel, Out of actions : between performance and the object, Pp.12-24 Suggested Reading: Jessica Helfand, Screen, One, Two, Three, Faux: The Myth of Real Time, Pp.3-9 Screenings: The Street of Crocodiles, 1986, Quay Brothers Wavelength, 1967, Michael Snow
9)	Understanding and investigating the problems of video art	Reading: Norman M. Klein, Illuminating Video, Audience Culture and the Video Screen, Pp.375-403, Vito Acconci, Illuminating Video, Television, Furniture, and Sculpture: The Room with the American View, Pp.125-134 Suggested Reading: Margaret Morse, Illuminating Video, The Body, the Image, and the Space-in-Between, Pp.153-167 Screenings: Works of Bruce Nauman and Chris Burden
10)	Realization of boundaries as guidelines for the creation of a new art form and a cinematic language	Reading: D.N.Rodowick, Gilles Deleuze’s Time Machine, A Short History of Cinema, Pp.3-17 Suggested Reading: Paolo Cherchi Usai, The Death of Cinema: History, Cultural Memory, and the Digital Dark Age, Pp.3-12 Screenings: Passing, 1991, Bill Viola Landscape with Philip Glass, Robert Ashley
11)	Theories and ideologies of experimental works	Reading: : Marshall McLuhan, The Medium is the Massage, Pp.1-10 Bruce & Norman Yonemoto, Illuminating Video, The Medium Is the Mess...age, Pp.242-248 Suggested Reading: Florian Brody, The Digital Dialectic: New Essays on New Media, The Medium is the Memory, Pp.130-149 Screening: About A Theological Situation In The Society Of Spectacle, 2001, Masayuki Kawai Works of Nan June Paik
12)	The connections between experimental cinema and the other art forms	Reading: Avant-Garde Film Motion Studies, Scott Mac Donald, Pp: 17-36 Screenings: Painting to See the Room Through, 1961, Film No.5 ( Rape, or Chase ), 1969, Yoko Ono
13)	The relationship between experimental cinema and main stream cinema, music clips, commercials, TV and media	Reading: Edited by Gregory Flaxman, The Brain Is Te Screen, An Interview with Gilles Deleuze, Pp: 365 - 373 Screenings: The Way Things Go, 1987, Peter Fischli & David Weiss Screening of a selection of scenes from contemporary commercials, music clips and conventional cinema
14)	Feedback on the necessary approaches and methods for the development of the final projects and final papers	Research and Production of Projects. Preparation of the projects / Research for the paper and preparation for writing the paper

Sources

Course Notes / Textbooks:

References:

1. Visionary Film: The American Avant-garde, 1943-2000, edited by Sitney, P. Adams, New York Oxford University Press,2002.
2. Illuminating video: an essential guide to video art, edited by Doug Hall and Sally Jo Fifer, New York, N.Y. : Aperture in association with the Bay Area Video Coalition, 1990
3. Gilles Deleuze’s Time Machine, David Norman Rodowick, Durham, NC: Duke University Press, 1997
4. A history of experimental film and video : from canonical avant-garde to contemporary British practice, A.L. Rees, London :BFI Publishing, 1999
5. Experimental Cinema in the Digital Age, Malcolm Le Grice, British Film Institute, 2002
6. The Death of Cinema: History, Cultural Memory, and the Digital Dark Age, Paolo Cherchi Usai, British Film Institute, 2001
7. Experimental cinema : the film reader, edited by Wheeler Winston-Dixon and Gwendolyn Audrey Foster, London ; New York :Routledge, 2002
8. The digital dialectic : new essays on new media, edited by Peter Lunenfeld, Cambridge, Mass. : MIT Press, 2000
9. Out of actions : between performance and the object, 1949-1979, organized by Paul Schimmel, Los Angeles: The Museum of Contemporary Art , New York : Thames and Hudson , 1998
10. Screen: Essays on Graphic Design, New Media, and Visual Culture, Jessica Helfand, Princeton Architectural Press, 2001
11. Nam June Paik: Video Time, Video Space / General Editors, Toni Stooss and Thomas Kellein, New York : H.N. Abrams, 1993
12. Screen writings : scripts and texts by independent filmmakers, edited by Scott MacDonald, Berkeley : University of California Press, 1995
13. New screen media : cinema/art/narrative, edited by Martin Rieser, Andrea Zapp, London : BFI Pub., 2002, 2004
14. The medium is the Massage, Marshall McLuhan, Quentin Fiore ; produced by Jerome Agel, Corte Madera, CA : GingkoPress, 2001
15.Avant-Garde Film Motion Studies, Scott Mac Donald, Cambridge University Press, 1993
16. The Brain Is Te Screen, Edited by Gregory Flaxman, University of Minnesota Press, 2000

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Laboratory	2	% 10
Application	1	% 10
Homework Assignments	1	% 15
Presentation	2	% 5
Project	1	% 20
Final	1	% 40
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 40
PERCENTAGE OF FINAL WORK		% 60
Total		% 100

ECTS / Workload Table

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	13	3	39
Laboratory	2	3	6
Application	3	3	9
Field Work	2	3	6
Study Hours Out of Class	3	4	12
Presentations / Seminar	2	4	8
Project	2	4	8
Homework Assignments	6	3	18
Quizzes	1	3	3
Midterms	1	3	3
Final	1	3	3
Total Workload			115

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 develop an interest in the human mind and behavior, to be able to evaluate theories using empirical findings, to understand that psychology is an evidence-based science by acquiring critical thinking skills.
2)	To gain a biopsychosocial perspective on human behavior. To understand the biological, psychological, and social variables of behavior.
3)	To learn the basic concepts in psychology and the theoretical and practical approaches used to study them (e.g. basic observation and interview techniques).
4)	To acquire the methods and skills to access and write information using English as the dominant language in the psychological literature, to recognize and apply scientific research and data evaluation techniques (e.g. correlational, experimental, cross-sectional and longitudinal studies, case studies).
5)	To be against discrimination and prejudice; to have ethical concerns while working in research and practice areas.
6)	To recognize the main subfields of psychology (experimental, developmental, clinical, cognitive, social and industrial/organizational psychology) and their related fields of study and specialization.
7)	To acquire the skills necessary for analyzing, interpreting and presenting the findings as well as problem posing, hypothesizing and data collection, which are the basic elements of scientific studies.
8)	To gain the basic knowledge and skills necessary for psychological assessment and evaluation.
9)	To acquire basic knowledge of other disciplines (medicine, genetics, biology, economics, sociology, political science, communication, philosophy, anthropology, literature, law, art, etc.) that will contribute to psychology and to use this knowledge in the understanding and interpretation of psychological processes.
10)	To develop sensitivity towards social problems; to take responsibility in activities that benefit the field of psychology and society.
11)	To have problem solving skills and to be able to develop the necessary analytical approaches for this.
12)	To be able to criticize any subject in business and academic life and to be able to express their thoughts.