| 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 : | Assist. Prof. GÖNÜL EDA ÖZGÜL |
| Course Lecturer(s): |
Assist. Prof. GÖNÜL EDA ÖZGÜL |
| Recommended Optional Program Components: | None |
| Course Objectives: | This course aims to discuss different approaches in media studies (specifically film studies) with an interdisciplinary understanding focusing on the socio-economical, cultural and artistic dimensions of these theories. |
|
The students who have succeeded in this course; 1. Gain the ability to think critically about cinema and media 2. Explore the theories of cinema and media studies 3. Use different approaches and methods when analyzing and criticizing cinema and media products 4. Develop an interdisciplinary approach 5. Learn how to write an academic text |
| The students who take this course will focus on film as a medium; as a language; as a product of the cinematic apparatus; and in relation to its reception by the spectators. Besides the major theories such as formalism, structuralism, post-structuralism, psychoanalysis, feminism, Marxism, and reception theories that have both influenced media products and media studies, this course also aims to discuss media products by focusing on specific concepts such as the individual, time, space, reality, memory and power. The course involves lecture, discussion on topics and student presentations on chosen texts. |
| Week | Subject | Related Preparation |
| 1) | Course Schedule Review Expectations | |
| 2) | Film Medium, Film Language, Film Reception Cinema and Modernity (The Birth of Cinema, Industrialization, The Industrial City) | Readings: Benjamin (2002) Baudelaire (2010) Simmel (1903: 47-61) |
| 3) | Early Film Theories: Film as Medium | Readings: Thompson, Bordwell (2003: 11-54) Hansen (1991:1-21) Mulvey (2006: 54-67) Bazin (2005: 9-17) Barthes (1982) Sontag (2007) Heath (1973: 102-127) |
| 4) | Classical Narrative Cinema and Realism | Readings: Aristotle (1997) Sophocles (1-63) Tarkovsky (1987: 176-202) Films: Eisenstein – Battleship Potemkin (1925) Tarkovsky – Stalker (1979) |
| 5) | Marxism, Cinema and Media The Frankfurt School and the Culture Industry | Readings: James (2004: 182-202) Brecht (1961: 130-136) Brecht (1964: 69-77) Brecht (1964: 91-100) Parkan (1983) Films: Ken Loach – Raining Stones (1993 |
| 6) | Cinema and Ideology Cinema Apparatus, Modernity and the Ideology of Perspective Auteur Cinema | Readings: Readings: Althusser (2014: 171-208) Baudry (1986: 286-299) Plato (2000: 220-252) Nichols (1981: 69-103) Naremore (2004: 9-25) Metz (1983: 1-89) Metz (1983: 89-99) Films: Godard- Masculin Feminin (1966) |
| 7) | Feminist Theory & Psychoanalysis Who’s the Subject? Author & the Spectator | Readings: Hayward (2006: 31-38) Hayward (2006: 134-148) Hayward (2006: 176-184) Hayward (2006: 311-329) Mulvey (1986: 14-26) Bellour (1977: 104-132) Films: Hitchcock – Rear Window (1954) Brian de Palma – Hi, Mom (1970) |
| 8) | National Cinemas Nationalism, Imperialism&Cinema Cinema & the Representation of Others Colonialism, Orientalism, Postcolonialism Third Cinema Postcolonial Cinema | Readings: Hayward (2006: 77-81) Thompson, Bordwell (2003: 55-80) Kracauer (1995: 291-304) Bhabha (2000: 1-7) - Albert Robins, Aksoy (2005: 191-209) Anderson (2006, 1-7) Hayward (2005: 81-94) Films: Fritz Lang – Metropolis (1927) Zack Snyder – 300 (2007) Readings: Gettino, Solanas (1969: 107-132) Hayward (2006: 292-299) Said (2000: 345-361) Galeano (2004) Films: Solanas – El Viaje (1992) Haneke – Caché (Hidden) (2006) |
| 9) | Cinema & Modernism Modernist Narrative Modernist Theories [Formalism & Structuralism] | Readings: Stam (1992: 255-266) Waugh (2001: 1-19) Films: Kiarostami – Taste of Cherry (1997) Godard – Pierrot le Fou (1965) |
| 10) | Cinema&Postmodernism Postmodern Narrative Postmodern Theories [Poststructuralism] Reflexivity in Film, Art and Literature | Readings: Hutcheon (2001: 107-117) Hutcheon (2004: 3-21) Films: Woody Allen – Whatever Works (2009) |
| 11) | Time and Space Media and the City Utopia, Dystopia Cyberculture | Readings: Deleuze (1986: 186-215) Deleuze (1989: 68-97) Jameson (1995: 9-36) Barker (2005: 347-373) Sassen (2003: 15-30) Sands (2003: 129-141) Calvino (1978) Films: David Cronenberg – Videodrome (1983) Kim Ki-Duk – Spring, Summer, Fall, Winter…and Spring (2003) Nuri Bilge Ceylan – Bir Zamanlar Anadolu’da (2011) |
| 12) | Memory and Media | Readings: Hutcheon (2004: 105-124) Films: Wim Wenders – Wings of Desire (1987) |
| 13) | Media and Everyday Life | Readings: De Certeau (1988:91-110) - Ayah Baudrillard (2001: 145-147) Films: Peter Weir - Truman Show (1998) David Fincher - Fight Club (1999) |
| 14) | General Review and presentations |
| Course Notes / Textbooks: | |
| References: | Althusser, Louis (2014). On the Reproduction of Capitalism: Ideology and Ideological State Apparatuses. G.M.Gosggarian (trans.). London, New York: Verso Anderson, Benedict (2006). Imagined Communities Reflections on the Origin and Spread of Nationalism. London, New York: Verso Aristotle (1997). Aristotle’s Poetics. John Baxter and Patrick Atherton (Eds.). George Whalley (trans.). Montreal, London, Buffalo: McGill-Queens University Press Barker, Chris (2005). Cultural Studies Theory and Practice. London, Thousand Oaks, New Delhi: Sage Publications Barthes, Roland (1982) Camera Lucida: Reflections on Photography. Richard Howard (trans.). Second Edition. New York: Hill and Wang Baudelaire, Charles (2010). The Painter of Modern Life. Penguin Books. Baudrillard, Jean (2001). “Simulacra and Simulations”. The Visual Culture Reader. N. Mirzoeff (Ed.). Second Edition. London, New York: Routledge, pp. 145-147 Baudry, Jean-Louis (1986). Ideological Effects of the Basic Cinematic Apparatus. In: Narrative, Apparatus, Ideology. Philip Rosen (Ed.). New York: Columbia University Press Bazin, André (2005). What is Cinema? Volume I. Hugh Gray (Ed. and Trans.). Berkeley, Los Angeles, London: University of California Press Bellour, Raymond (1977). “Psychosis, Neurosis, Perversion”. Camera Obscura No:2 Fall, pp.105-132 Benjamin, Walter (2002). The Arcades Project. Howard Eiland, Kevin McLaughlin (trans.). Massachusettes, London: The Belknap Press of Harvard University Press Bhabha, Homi (2000). Introduction: Narrating the Nation. In: Nation and Narration. Bhabha, Homi (Ed.). Seventh Edition. London, New York: Routledge, pp.1-8 Bordwell, David (1996). Contemporary Film Studies and the Vicissitudes of Grand Theory. In: Post-Theory: Reconstructing Film Studies. David Bordwell, Noël Carroll (Eds.). Wisconsin: The University of Wisconsin Press, pp. 3-37 Brecht, Bertolt, Eric Bentley (1961). On Chinese Acting. The Tulane Drama Review. Volume:6, No:1. The MIT Press, pp.130-136. http://www.jstor.org/stable/1125011 (Accessed: 22.09.2016) Brecht, Bertolt (1964). Brecht on Theatre The Development of an Aesthetic. John Willett (Ed. and Trans.). New York: Hill and Wang Calvino, Italo (1978). Invisible Cities. William Weaver (trans.). San Diego, New York, London: A Harvest Book Harcourt Brace& Co. Carroll, Noël (1996). Prospects for Film Theory: A Personal Assessment. In: Post-Theory: Reconstructing Film Studies. David Bordwell, Noël Carroll (Eds.). Wisconsin: The University of Wisconsin Press, pp. 37-68 De Certeau, Michel (1988). “Walking in the City”. The Practice of Everyday Life. S. Rendall (trans.). Los Angeles: University of California Press, pp. 91-111 Deleuze, Gilles (1986). Cinema I: The Movement-Image. Hugh Tomlinson, Barbara Habberjam (trans.). Minneapolis: University of Minnesota Press Deleuze, Gilles (1989). Cinema II: The Time-Image. Hugh Tomlinson, Robert Galeta (trans.). London: The Athlone Press Galeano, Eduardo (2004). Tepetaklak: Tersine Dünya Okulu. Bülent Kale (trans.). Istanbul: Çitlembik Yayınları Gettino, Octavio, Fernando Solanas (1969). “Toward a Third Cinema”. Tricontinental. No:14. La Habana: Organización de Solidaridad de los Pueblos de África, Asia y América Latina, pp.107-132 Hansen, Miriam (1991). Babel and Babylon: Spectatorship in American Silent Film. Cambridge, Massachusettes: Harvard University Press Hayward, Susan (2005). Framing National Cinemas. In: Cinema and Nation. Hjort, Mette and Mackenzie, Scott (Eds.). London, New York: Routledge, pp. 81-95 Hayward, Susan (2006). Cinema Studies The Key Concepts. Third Edition. London, New York: Routledge Heath, Stephen (1973). “Film/Cinetext/Text”. Screen. Vol:14 No:1-2 Spring Summer, pp.102-127 Hutcheon, Linda (2001). The Politics of Postmodernism. London, New York: Routledge Hutcheon, Linda (2004). A Poetics of Postmodernism: History, Theory, Fiction. London, New York: Routledge James, David (2004). Is There Class in This Text?: The Repression of Class in Film and Cultural Studies. In: A Companion to Film Theory. Toby Miller, Robert Stam (Eds.). Second Edition. Massachusettes, Oxford: Blackwell Publishing, pp. 182-202 Jameson, Frederic (1995). The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington, Indianapolis: Indiana University Press Kracauer, Siegfried (1995): The Mass Ornament: Weimar Essays. Thomas Y. Levin (Ed., trans.). Cambridge, Massachusettes: Harvard University Press Metz, Christian (1983). Psychoanalysis and Cinema: The Imaginary Signifier. Stephen Heath, Colin McCabe (Eds.). Celia Britton, Annwyl Williams, Ben Brewster, Alfred Guzetti (trans.). London: The Macmillan Press Mulvey, Laura (1986). “Visual Pleasure and Narrative Cinema”, pp. 14-26 Mulvey, Laura (2006). Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books Naremore, James (2004). Authorship. In: A Companion to Film Theory. Toby Miller, Robert Stam (Eds.). Second Edition. Massachusettes, Oxford: Blackwell Publishing, pp.9-25 Nichols, Bill (1981). Ideology and the Image: Social Representation in the Cinema and Other Media. Bloomington: Indiana University Press Parkan, Mutlu (1983). Brecht Estetiği ve Sinema. Ankara: Dost Kitabevi Yayınları Plato (2003). The Republic (Cambridge Texts in the History of Political Thought). G.R.F. Ferrari (Ed.). Tom Griffith (trans.). Sixth Edition. Cambridge: Cambridge University Press Robins, Kevin, Asu Aksoy (2005)). Deep Nation: The National Question and Turkish Cinema Culture. In: Cinema and Nation. Hjort, Mette and Mackenzie, Scott (Eds.). London, New York: Routledge, pp. 191-209 Said, Edward (2000). Orientalism Reconsidered. In: Orientalism A Reader. A.L. Macfie (Ed.). New York: New York University Press, pp. 345-361 Sands, Peter (2003). Global Cannibal City Machines: Recent Visions of Urban/Social Space. In: Global Cities: Cinema, Architecture and Cinema in a Digital Age. Linda Krause, Patrice Petro (Eds.). New Brunswick, New Jersey, London: Rutgers University Press, pp. 129-141 Sassen, Saskia (2003). Reading the City in a Global Digital Age: Between Topographic Representation and Spatialized Power Projects. In: Global Cities: Cinema, Architecture and Cinema in a Digital Age. Linda Krause, Patrice Petro (Eds.). New Brunswick, New Jersey, London: Rutgers University Press, pp. 15-30 Simmel, Georg (1903). The Metropolis and the Mental Life. In: Classic Essays on the Culture of Cities (1969). Richard Sennett (Ed.). New York: Meredith Corporation, pp.47-61 Sontag, Susan (2007). On Photography. New York: Rosetta Books Sophokles. Oedipus the King. In: Sophokles I: The Complete Greek Tragedies (2013). David Grene, Richmond Lattimore (Eds.). David Grene (trans.). Third Edition. Chicago, London: The University of Chicago Press, pp.115-225 Stam, Robert (1992). Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. New York: Columbia University Press Tarkovsky, Andrei (1987). Sculpting in Time. Kitty Hunter-Blair (trans.). Austin: University of Texas Press Thompson, Kristin, David Bordwell (2003). Film History: An Introduction. Second Edition. Madison: University of Wisconsin Waugh, Patricia (2001). Metafiction: The Theory and Practice of Self-Conscious Fiction. London, New York: Routledge |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 15 |
| Homework Assignments | 1 | % 25 |
| Presentation | 2 | % 20 |
| 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 | 14 | 7 | 98 |
| Presentations / Seminar | 2 | 12 | 24 |
| Homework Assignments | 1 | 10 | 10 |
| Final | 1 | 12 | 12 |
| Total Workload | 186 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Students will develop a strong foundation in film theory and criticism, enabling them to engage in academic discussions on cinematic aesthetics and narrative structures. They will learn to apply critical methodologies to analyze films from various historical and cultural contexts. | 5 |
| 2) | Students will gain a broad knowledge of the historical and sociological contexts of global cinema television productions by studying important films from the history of cinema and gain ideas for creating their own works. Students will master the methods of fiction or documentary storytelling through courses based on screenwriting, cinematography and lighting, directing, post-production. | 5 |
| 3) | Students will explore the relationship between cinema and reality by studying documentary filmmaking and its ethical, political, and aesthetic implications. They will gain hands-on experience in documentary production, learning to craft compelling visual narratives based on real-world subjects. | 5 |
| 4) | Students will enhance their ability to communicate through visual storytelling by studying cinematic language, composition, and mise-en-scène. They will analyze and create scenes using different cinematic techniques to convey emotions and meaning effectively. | 5 |
| 5) | Students will refine their screenwriting skills by mastering narrative structure, character development, and dialogue. They will write and workshop original scripts, preparing them for professional careers in film and television writing. | 5 |
| 6) | Students will gain expertise in directing techniques, working with actors, and visual composition to create engaging cinematic experiences. They will direct short projects that demonstrate their ability to translate written narratives into compelling visual storytelling. | 1 |
| 7) | Students will gain insight into the global film industry, including production, distribution, and marketing strategies. They will develop professional skills necessary to navigate the industry, from pitching projects to networking with industry professionals. | 3 |
| 8) | Students will explore the historical evolution of Turkish cinema, from early productions to contemporary trends, analyzing key directors, genres, and movements. They will also examine the production models in the Turkish film industry, including independent filmmaking, mainstream cinema, and government-supported productions. | 1 |