BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN | |||||
| 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 | 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 : | 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) | Setting up various spaces in national and international contexts, carrying out designs, planning and applications that could satisfy various user groups and respond various requirements in the field of Interior Architecture, | |
| 2) | Analyzing the information gathered from the framework of actual physical, social and economical constraints and user requirements, and synthesizing these with diverse knowledge and considerations in order to create innovative spatial solutions, | |
| 3) | Generating creative, innovative, aesthetic and unique spatial solutions by using tangible and abstract concepts, | |
| 4) | Using at least one of the illustration and presentation technologies competently, that the field of interior architecture requires, | |
| 5) | Reporting, presenting and transferring the design, practice and research studies to the specialists or laymen by using visual, textual or oral communication methods, efficiently and accurately, | |
| 6) | Embracing and prioritizing man-environment relationships, user health, safety and security, and universal design principles in the field of interior architecture, | |
| 7) | Design understanding and decision making that respects social and cultural rights of the society, cultural heritage and nature, | |
| 8) | Being aware of national and international values, following developments and being equipped about ethical and aesthetical subjects in the fields of interior architecture, design and art, | |
| 9) | Having absolute conscious about legal regulations, standards and principles; and realizing professional ethics, duties and responsibilities in the field of Interior Architecture, |