| Week |
Subject |
Related Preparation |
| 1) |
Introduction& Moving Image Before Cinema |
- |
| 2) |
Origins and International Expansion, 1907-1918
|
Screening Documentarys from Lumieres Bro.
“The Great Train Robbery” E.S. Porter
|
| 3) |
D.W. Griffith and the Development of Narrative Form; |
Screening “The Birth of a Nation”
|
| 4) |
Soviet Silent Cinema and the Theory of Montage, 1917-1931: |
Screening “Battleship Potemkin”
|
| 5) |
German Cinema of the Weimar Period, 1919-1929;
Europe in the Thirties
|
Screening “The Cabinet of Dr. Caligari”
|
| 6) |
The Poetic Realism; European Cinema Before the World War II
|
Screening “Atalante”
|
| 7) |
The American Studio System; Hollywood Genres
|
Screening “Rear Window”
|
| 8) |
Hollywood Invasion at Europe
Postwar Cinema: Italian Neo-Realismo |
Screening “ShoeShine”
|
| 9) |
French new wave and its narrative context |
Screening "Breathless" |
| 10) |
The British Free Cinema-New Cinema in Britain |
Weekend screening “Saturday Night Sunday Morning”
|
| 11) |
European Renaissance, New German Cinema
|
Screening “Der Himmel Über Berlin”
|
| 12) |
New Hollywood 1965-... |
Screening “Bonnie and Clyde”
|
| 13) |
Third Cinema |
Screening “Kurz und Schmerzlos”
|
| 14) |
East Asian Cinema |
Screening Crouching Tiger Hidden Dragon |
| |
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 |
5 |
| 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 |
5 |
| 4) |
Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey |
5 |
| 5) |
Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product |
5 |
| 6) |
Being able to write a script ready to be shot |
2 |
| 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 |
2 |
| 8) |
Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations |
2 |
| 9) |
Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages |
2 |
| 10) |
Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage |
|
| 11) |
Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white |
2 |
| 12) |
Having ethical values and a sense of social responsibility |
5 |
BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
