LAW
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 :	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.

Learning Outcomes

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.

Course Content

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.

Weekly Detailed Course Contents

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

Sources

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.

Evaluation System

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

ECTS / Workload Table

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

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)	List the relations between concepts and institutions related to various legal disciplines and this concepts and institutions.
2)	Have the knowledge of legal methodology and methods of comment.
3)	Comment the modern legal gains with the historical knowledge.
4)	Have the knowledge of philosophical currents of thought which are the bases of legal rules.
5)	Have the knowledge of legal regulations, judicial decisions and the scientific evaluations related to them.
6)	Resolve the juridical disagreements in light of legal acts, juridical decisions and doctrine.
7)	Use at least one foreign language as scientific language.
8)	Have the knowledge of the political and juridical foundation of the state.
9)	Have the knowledge of the historical development of the rights of individuals and societies and of the basic documents which are accepted throughout this development.
10)	Have the ability to resolve the disagreements which can violate the social order in national or international level.
11)	Have the ability to prevent the juridical disagreements between individuals.
12)	Have the knowledge of international and comparative law systems.
13)	Have the ability of the construction and the conduct of the national and international commercial relations.
14)	Use Turkish in an efficient way both verbal and written.
15)	Have the ability of the professional and the ethical responsibility.
16)	Have the knowledge on the European Union’s legislation and institutions.
17)	Have the knowledge on juridical regulations and applications related to economical and financial mechanisms.
18)	Have the knowledge of the operation of the national and international judicial bodies.