| FILM AND TELEVISION (ENGLISH, THESIS) | |||||
| Master | TR-NQF-HE: Level 7 | QF-EHEA: Second Cycle | EQF-LLL: Level 7 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| FTV5915 | Theory and Literature in Film and TV Studies | Fall | 3 | 0 | 3 | 7 |
| Language of instruction: | English |
| Type of course: | Must Course |
| Course Level: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
| Course Lecturer(s): |
Dr. Öğr. Üyesi GÖNÜL EDA ÖZGÜL |
| Recommended Optional Program Components: | None |
| Course Objectives: | The aim of this course is to survey the major theoretical trends that have influenced film and media studies, such as psychoanalysis, structuralism and post-structuralism, feminist film theory and reception studies. |
|
The students who have succeeded in this course; Besides gaining theoretical knowledge of cinema and television studies, being able to use different approaches and methods while analyzing and criticizing film and television content and also developing an interdisciplinary approach in film studies. |
| In this course, television and cinema works will be discussed with an interdisciplinary approach. The theoretical knowledge about cinema and television studies will be supported by practical samples and sample readings. At the same time, a critical perspective about the practices in Turkey will be developed. |
| Week | Subject | Related Preparation |
| 1) | -Birth of film medium, 19th century: the era: Popular culture, film history and cultural experience -Emergence of cinema and its relation to industrial city and modernism | Film Screening: A & A Huges, FROM HELL, 2001, USA, 122’ |
| 2) | Early Cinema (1890s- 1910s) International Explorations: before the national industries; emergence of industry and institutionalization, construction of film form Problematization of mode of film production and audience / spectator / historical audience and issues of public sphere | Readings: [B&T]: 441 –445. [S&M]: 337- 344 Miriam Hansen, Babel & Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard U. P., 1991, pp: 1-19. Film Screening: George Melford THE SHEIK, 1921, USA, 80’ |
| 3) | Nationalism, Imperialism and Modernism: National Cinemas, Weimar Cinema: a national cinema. Film form and birth of formal systems: art, technology and “narration and nation”. | Okumalar: Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, Princeton, NJ: PUP 1974 5th (c: 1947) pp: 215-222. Homi Bhabha (ed), “Introduction: Narrating the Nation” in Nation And Narration, NY: Rutledge 2002, pp: 1-7. Film: Fritz Lang, M, 1931, Germany, 118’ |
| 4) | Representation, Ideology and Point of View: Film text, narrative and non-narrative story telling: Shot and mise-en scene and beyond. | Okumalar: [S]: 33-36 Jean Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus” in Philip Rosen (ed), Narrative, Apparatus, Ideology, NY: Columbia UP, 1986, pp: 286- 298 Jean Louis Commoli and Jean Narboni, “Cinema / Ideology/ Criticism” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp: 22-30. Film: J. L. Godard, MASCULIN & FEMININ, 1966, France, 110’ Alain Resnais, HIROSHIMA MON AMOUR, 1959, France, 90’ |
| 5) | Real, Realism, Verisimilitude and Mimesis: What are the medium’s specificities? Questioning cinematographic properties. Challenging the look and the spectator and challenging the world: waves around the world. | Readings: [S&M]: 31- 38, 223-228 & 403- 408 [S]: 22 -32, 107- 130 Film Screening: Woody Allen, ZELIG, 1983, USA, 79’ Nicolas Roeg, INSIGNIFICANCE, 1985. UK / USA 120’ Hector Babenco, KISS OF THE SPIDER WOMAN/ O BEIJO DA MULHER ARANHA, 1985, Brazil / USA, 119’. |
| 6) | Text, Intertext, Context: Culture of Empire vs. "Return of the Repressed" & the World of “Detouring” the "Others" | Readings: [S]: 185-192, 267- 280, & 292- 298 [S&M]: 145- 156 & 669- 696. Z. Tül Akbal Süalp, "Yaban lar, Ötekiler Sudaki Balıklar: Postmodern Koşullar mı, Postmodern Koşullanmalar mı?" Kültür ve Toplum 1 İst: Hil 1995, slr: 64-88. Film Screening: Anthony Minghella, ENGLISH PATIENT, 1996 162’, USA/UK Stephen Frears, SAMMY AND ROSIE GET LAID, 1987, UK, 97’. Gillo Pontecorvo, LA BATTAGLIA DI ALGERI, 1966. Algeria / Italy, 123’ |
| 7) | Introduction to the theories of 20th Century: Modernism vs. Postmodernism A search for new aesthetics and alternative modes of film-making: Non- narrative, absurd and political cinemas: Urban space and alternative looks, and appearances of avant-gardes. | Readings: S&M]: 257 – 264 [H&G]: 89- 93 & 94- 103 [S]: 55- 58, 130- 140, 153- 158. Fernando Solonas and Octavio Getino, “Towards a Third Cinema” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp 44-64 Z. Tül Akbal Süalp, “Rüzgar dönüyordu bütün coğrafyalarda”, Cogito, Sa: 14, Bahar 1998, slr: 234 -252 Film Screening: Juan Carlos Tabio, WAITING LIST, 2000, Cuba, 102’ Jean-Luc Godard, NOTRE MUSIQUE/ OUR MUSIC, 2004, Switz/ France, 80’. Derviş Zaim CENNETI BEKLERKEN /WAITING FOR THE HEAVEN , 2006, |
| 8) | Ideology, Hegomony and Society: Representations of Class, Race, Gender and Ethnicity | Reading: “Encoding/Decoding” reading by Stuart Hall (CB)/ (MGD-DK) pp: 166- 176. “Media culture, politics, and ideology From Reagan to Rambo”, Chapter 2, in Kellner, Media Culture, London & New York: Routledge, 1998 c: 1995 pp: 55-91 Film Screening: ONCE WERE WORRIORS (Lee Tamahori, , 1994, New Zealand, 99’) Mathieu Kassovitz, LA HAINE / PROTESTO, 1995, France, 97’ Lucas Belvaux, THE RIGHT OF THE WEAKEST/ LA RAISON DU PLUS FAIBLE, 2006, Belgium / France, 116’ |
| 9) | An Ontology of television end everyday life experiences: | Readings: Morse, M., “An Ontology of Everyday Distraction: the Freeway, the Mall and the Television”, (CB) / (PM) pp: 193- 221 Mellencamp, Patricia “TV Time and Catastrophe, or Beyond the Pleasure Principle of Television” (CB) / (PM) pp: 240- 266 Virilio, P., (1991), “The Overexposed City” in P Virilio, Lost Dimension (trns: D. Moskenberg), New York: Semiotext[e, pp: 9-27. Film Screening: Peter Weir, TRUMAN SHOW, 1998, USA, 103’ Gary Ross, PLEASANTVILLE, 1998, USA, 124’ Ang Lee, THE ICE STORM, 1997, USA, 113’ |
| 10) | Cinema as an inner voyage: Perception, Signification, Cognition and Identification: Psychoanalysis Inner-film and Semiology | Reading: [H&G]: 49- 89 [S]: 158- 169, 248- 256 Film Screening: David Lynch, BLUE VELVET, 1986, USA, 120’ Michael Haneke, CACHÉ / HIDDEN (Eng. Translation title), 2005, Austria / Italy / Germany / France, 111’. Pedro Almodovar, WOMEN ON THE VERGE of NERVOUS BREAKDOWN , 1988 Spain, 88’ |
| 11) | Marxist approaches, counter cinema, third cinema and political cinema | H&G]: 104- 114 [S]: 281- 291 [S&M]: 539- 551 Film Screening: Ken Loach, RAINING STONES, 1993, UK, 90’ Fernando E. Solanas, THE DIGNITY OF THE NOBODIES , Argentina, 2005, 122’ Jia Zhang Ke, SAN XIA HAOREN/ STILL LIFE , China, 2006, 109’ Robert Guédiguian, THE TOWN IS QUIET/ LA VILLE EST TRANQUILLE, 2000, 143’ |
| 12) | Frankfurt School, Critical Theory and Cultural studies & Electronic Culture and Cyberspace: Exploring and revisiting modernism & postmodernism | Readings: [H&G]: 188- 199 [S]: 64- 72, 223-229 & 298- 314 [S&M]: 704- 714 Mark Poster, “Postmodern Virtualities” (CB)/ (MGD-DK) 611- 625. Gülnur Savran, ‘Postmodernizm: Yepyeni Bir Evre mi, Bir Eğilimin Mutlaklaşması mı?’, Defter, Kış 1999, #:38. J Baudrllard’s (CB)/ (MGD-DK) pp: 521 – 550. Film Screening: David Cronenberg, VIDEODROME, 1982, Canada, 89’ Wolfgang Becker GOOD BYE LENIN!, 2002, 118’. Radha Bharadwaj, CLOSET LAND , 1990, USA, 95’. Tsai Ming-Liang, THE RIVER/ HE LIU, 1997, Taiwan, 115’. |
| 13) | Gaze of Gender, Ideology and Identities and Feminist Criticism in Cinema & Television cultural and globalization: constructing manufacturing and representing race, gender and class, and global electronic culture | Reading: Barker, Chris, Ch. 2 “Global television and Global Culture”: in (CB) / (CB) pp: 33-59, Barker, Chris, Ch. 3 & 4 “The construction and representation of race and nation” &-- “Sexed subjects and gendered representation”, in (CB) / (CB), pp: 60- 107 Readings: [H&G]: 115- 145 [S]: 169- 179 [S&M]: 475-494 Film Screening: Marleen Gorris ANTONIA’S LINE 1995 Netherlands, 102’ Zhang Yimou, RAISE THE RED LANTERN , 1991. China / Hong Kong / Taiwan, 125’ Moufida Tlatli, SAIMT EL QUSUR / LES SILENCES DU PALAIS/ THE SILENCES OF THE PALACE, 1994 Tunisia / France 128’. Ferzan Özpetek CAHIL PERILER, 2001, Italy, 105’ |
| 14) | General Review and presentations |
| Course Notes / Textbooks: | Temel Okuma Kitapları: David Bordwell & Kristin Thompson, Film Art: An Introduction, New York: Mc Graw-Hill Inc., 1996 5th ed. [B&T] R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000 [S&M] R. Stam, Film Theory: An Introduction, Oxford: Blackwell, 2000 [S] J Hill & P C Gibson, Film Studies Critical Approaches, Oxford: Oxford University Press, 2000 [H&G] Ek okumalar: Jean Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus” in Philip Rosen (ed), Narrative, Apparatus, Ideology, NY: Columbia UP, 1986, pp: 286- 298. Homi Bhabha (ed), “Introduction: Narrating the Nation” in Nation And Narration, NY: Rutledge 2002, pp: 1-7. Miriam Hansen, Babel & Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard U. P., 1991 Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, Princeton, NJ: PUP 1974 5th (©:1947) T. Miller, “Introduction: Apparatus Theory”, in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 403- 408. Jean Louis Commoli and Jean Narboni, “Cinema / Ideology/ Criticism” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp:22-30. Ella Shohat, “Gender and Culture of Empire: Twatds feminist Ethnography of the Cinema in in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 669- 696. Fernando Solonas and Octavio Getino, “Towards a Third Cinema” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp R. Stam & T. Miller, “Introduction: The Image and Technology” for Part III in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 85- 101. Robert Stam, “introduction: Alternative Aesthetics” for part VI in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 257 – 264. --------, “Introduction: Text and Intertext” in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 145-156 --------, “Introduction: Question of Realism”, in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 223-228. |
| References: | Z. Tül Akbal Süalp, "Yabanlar, Ötekiler Sudaki Balıklar: Postmodern Koşullar mı, Postmodern Koşullanmalar mı?" Kültür ve Toplum 1 İst: Hil 1995, slr:64-88. Z. Tül Akbal Süalp, “Rüzgar dönüyordu bütün coğrafyalarda”, Cogito, Sa: 14, Bahar 1998, slr: 234 –252 “ Marksizm ve Sinema: Hacimde İlmek Atmak” Der: Murat İri Sinema Araştırmaları: Kuramlar Kavramlar Yaklaşımlar İST: Derin Yay 2010 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 5 |
| Homework Assignments | 3 | % 45 |
| Presentation | 1 | % 15 |
| Final | 1 | % 35 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 65 | |
| PERCENTAGE OF FINAL WORK | % 35 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 13 | 8 | 104 |
| Presentations / Seminar | 1 | 5 | 5 |
| Homework Assignments | 3 | 15 | 45 |
| Final | 1 | 15 | 15 |
| Total Workload | 211 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 5 |
| 2) | Having comprehensive knowledge regarding different media and branches of art | 4 |
| 3) | Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area. | 4 |
| 4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 3 |
| 5) | Being able to create a narrative to be used in a fiction or a non-fiction audio-visual moving image product | 3 |
| 6) | Being able to write a script ready to be shot | 1 |
| 7) | Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | |
| 8) | Being able to transfer the footage of a film to the digital medium, edit and do other postproduction operations | |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and postproduction | 3 |
| 10) | Being culturally equipped to make sense of an audio-visual moving image and to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 4 |
| 11) | Having ethical values and a sense of social responsibility |