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| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| 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. |
| 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 : | Assoc. Prof. TOLGA HEPDİNÇLER |
| Course Lecturer(s): |
Assist. Prof. DENİZ GÜRGEN |
| Recommended Optional Program Components: | None |
| Course Objectives: | The course on Experimental Film is designed to immerse students in the study and creation of avant-garde cinema, providing a comprehensive exploration of its historical evolution and contemporary practices. It aims to deepen understanding of the genre's key movements and figures, engage with modern digital technologies, and encourage creative experimentation in filmmaking. Through lectures, hands-on projects, and critical analysis, students will not only refine their technical skills but also develop a critical appreciation of experimental film's role in pushing the boundaries of visual and narrative storytelling. |
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The students who have succeeded in this course; 1. Gain a deep understanding of the historical evolution of experimental film, including key movements, figures, and works that have shaped the genre. 2. Comprehend the theoretical frameworks and concepts that underpin experimental cinema, enabling a critical analysis of experimental works. 3. Understand current trends and practices in experimental film, including the impact of digital technologies and the role of experimental film in contemporary culture. 4. Analyze the work of contemporary experimental filmmakers, identifying how they contribute to and expand the boundaries of the genre. 5. Create and produce experimental films using various film techniques and tools, reflecting an understanding of avant-garde theories. 6. Collaborate effectively in teams to conceptualize, develop, and execute experimental film projects, reflecting the collaborative nature of the film industry. 7. Critically evaluate their own work and that of their peers to improve quality and effectiveness in conveying intended artistic messages. 8. Effectively use digital editing software to manipulate film and sound, enhancing the experimental nature of the production. 9. Discuss and analyze the socio-political implications of experimental films in various cultural contexts, understanding their impact on society and culture. |
| The course content for Experimental Film is thoughtfully designed to provide a deep dive into the artistic and technical dimensions of avant-garde filmmaking. Throughout the semester, students will explore the history of experimental cinema, from its inception to contemporary times, examining influential movements and seminal works. The course integrates theoretical knowledge with practical application, offering students the opportunity to learn about and experiment with various filmmaking techniques, including the use of digital editing tools and non-traditional narrative structures. Additionally, there will be a strong emphasis on the analysis of films and the role of experimental cinema in broader cultural and social contexts. Regular assignments, collaborative projects, and interactive discussions will encourage students to apply theoretical concepts creatively, culminating in the production of their own experimental films that challenge conventional cinematic forms and express unique artistic visions. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the Course: Introduction to experimental cinema and its significance. | * Man with a Movie Camera (Dziga Vertov, 1929) * Meshes of the Afternoon (Maya Deren, 1943) * Dog Star Man (Stan Brakhage, 1961-1964) |
| 2) | Introduction to the Concept of Experimentation in Film: Exploring what defines experimental film. | * Wavelength (Michael Snow, 1967) * Zorns Lemma (Hollis Frampton, 1970) * Ballet Mécanique (Fernand Léger, 1924) |
| 3) | The Pioneers of Experimental Cinema | *Anemic Cinema (Marcel Duchamp, 1926) *Un Chien Andalou (Luis Buñuel & Salvador Dalí, 1929) *The Seashell and the Clergyman (Germaine Dulac, 1928) |
| 4) | Genre Hybridization in Experimental Cinema: Merging genres to create new cinematic forms. | * La Jetée (Chris Marker, 1962) * Eraserhead (David Lynch, 1977) * Sweet Movie (Dušan Makavejev, 1974) |
| 5) | The Role of Technology in Experimental Film: Technology's impact on experimental film techniques. | * Outer Space (Peter Tscherkassky, 1999) * Décasia (Bill Morrison, 2002) - Ten Skies (James Benning, 2004) |
| 6) | Experimental Film and the Sensorial Experience :Films that evoke a sensory response. | * Mothlight (Stan Brakhage, 1963) * At Sea (Peter Hutton, 2007) * Baraka (Ron Fricke, 1992) |
| 7) | Site-Specific Experimental Films: Films designed for or about specific locations. | * Koyaanisqatsi (Godfrey Reggio, 1982) * Nostalgia (Hollis Frampton, 1971) * News from Home (Chantal Akerman, 1977) |
| 8) | Interactive and Participatory Experimental Films: Examining audience interaction in film. | * Tango (Zbigniew Rybczyński, 1981) * Symbiopsychotaxiplasm (William Greaves, 1968) * The Act of Seeing with One’s Own Eyes (Stan Brakhage, 1971) |
| 9) | Experimental Film and Memory: How experimental films challenge and utilize memory. | * Sans Soleil (Chris Marker, 1983) * Mirror (Andrei Tarkovsky, 1975) * Hiroshima Mon Amour (Alain Resnais, 1959) |
| 10) | The Body in Experimental Film: The depiction and use of the human body. | * Thundercrack! (Curt McDowell, 1975) * The Holy Mountain (Alejandro Jodorowsky, 1973) * Blow Job (Andy Warhol, 1964) |
| 11) | Experimental Narratives and Storytelling: Narrative techniques unique to experimental film. | * A Movie (Bruce Conner, 1958) * Tribulation 99: Alien Anomalies Under America (Craig Baldwin, 1991) * Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) |
| 12) | The Soundscapes of Experimental Cinema: The role and innovation of sound in experimental films. | * Variations (Stan Brakhage, 1992) * See the Sea (François Ozon, 1997) * Crossroads (Bruce Conner, 1976) |
| 13) | Experimental Film and Cultural Identity: Exploring cultural and identity themes through experimental film. | Tongues Untied (Marlon Riggs, 1989) The Watermelon Woman (Cheryl Dunye, 1996) Reassemblage (Trinh T. Minh-ha, 1982) |
| 14) | Evaluation of Synopsis, Mood-board, and Lighting Diagrams for the Final Projects |
| Course Notes / Textbooks: | |
| References: | Hatfield, J. (Ed.). (2006). Experimental film and video: An anthology. John Libbey Publishing. (Barbaros Library Catalog Number: Online Book Access) or PN 1995.9 .E96/E97 2006 Knowles, K. (2020). Experimental film and photochemical practices. Palgrave Macmillan. (Barbaros Library Catalog Number: Online Book Access) Gaal-Holmes, P. (2015). A history of 1970s experimental film: Britain's decade of diversity. Palgrave Macmillan. (Barbaros Library Catalog Number: Online Book Access) Rush, M. (2007). Video Art. Thames & Hudson. Provides insights into the video art movement, closely related to experimental film. Rees, A. L., et al. (Eds.). (2011). Expanded Cinema: Art, Performance, Film. Tate Publishing. Explores the intersection of film, art, and performance in experimental cinema. UBUWeb: (https://www.ubuweb.com) An independent resource dedicated to all things avant-garde and unconventional, including an extensive archive of experimental films. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 3 | % 60 |
| 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 | 13 | 5 | 65 |
| Homework Assignments | 3 | 6 | 18 |
| Final | 1 | 3 | 3 |
| Total Workload | 128 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To be able to apply theoretical concepts related to mass communication, consumer behavior, psychology, persuasion,sociology, marketing, and other related fields to understand how advertising and brand communication works in a free-market economy. | 2 |
| 2) | To be able to critically discuss and interpret theories, concepts, methods, tools and ideas in the field of advertising. | 2 |
| 3) | To be able to research, create, design, write, and present an advertising campaign and brand strategies of their own creation and compete for an account as they would at an advertising agency. | 2 |
| 4) | To be able to analyze primary and secondary research data for a variety of products and services. | 2 |
| 5) | To be able to develop an understanding of the history of advertising as it relates to the emergence of mass media outlets and the importance of advertising in the marketplace. | 2 |
| 6) | To be able to follow developments, techniques, methods, as well as research in advertising field; and to be able to communicate with international colleagues in a foreign language. (“European Language Portfolio Global Scale”, Level B1) | 2 |
| 7) | To be able to take responsibility in an individual capacity or as a team in generating solutions to unexpected problems that arise during implementation process in the Advertising field. | 3 |
| 8) | To be able to understand how advertising works in a global economy, taking into account cultural, societal, political, and economic differences that exist across countries and cultures. | 2 |
| 9) | To be able to approach the dynamics of the field with an integrated perspective, with creative and critical thinking, develop original and creative strategies. | 2 |
| 10) | To be able to to create strategic advertisements for print, broadcast, online and other media, as well as how to integrate a campaign idea across several media categories in a culturally diverse marketplace. | 2 |
| 11) | To be able to use computer software required by the discipline and to possess advanced-level computing and IT skills. (“European Computer Driving Licence”, Advanced Level) | 2 |
| 12) | To be able to identify and meet the demands of learning requirements. | 2 |
| 13) | To be able to develop an understanding and appreciation of the core ethical principles of the advertising profession. | 2 |