PERFORMING ARTS | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
FTV3946 | Media Studies | Spring Fall |
3 | 0 | 3 | 5 |
This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
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 GÖNÜL EDA ÖZGÜL |
Course Lecturer(s): |
Dr. Öğr. Üyesi GÖNÜL EDA ÖZGÜL |
Recommended Optional Program Components: | None |
Course Objectives: | This course aims to provide a critical and an intertextual perspective to the study of media and media products. It also aims to raise students' awareness about the contemporary world system that they live in through the discussion of media. |
The students who have succeeded in this course; 1. Gain the ability to think critically 2. Gain the ability to explore the economy-politics of media; 3. Can explore different ways of storytelling in media and understand the relationship between narration and the user/viewer/reader; 4. Can evaluate media products through diffferent theories; 5. Will be able to create media products in the context of different theories and put into practice theoretical knowledge |
This course focuses on the relationship between media and society. Media products and different ways of storytelling, the economy politics of media and media users/audiences are discussed in relation with the concepts of self, identity, power, memory and reality. Following the introduction of the main concepts in media studies, media products are both produced and discussed in relation with different theories such as semiotics, structuralism, post-structuralism and reception theory. |
Week | Subject | Related Preparation |
1) | Introduction | |
2) | Media and Modernity | |
3) | Media, Power, Ideology The Economy-Politics of Media Culture Industry Consumption Society Media as Myth Maker - Structuralism | Film to See Before Class: They Live (John Carpenter, 1988) Readings: Roland Barthes - Mythologies |
4) | Medya, Power, Ideology Society of Spectacle One-Dimensional Man Discipline and Biopolitics (Foucault) | Film to See Before Class: Benny'nin Videosu (Michael Haneke, 1992) Readings: Guy Debord - Society of Spectacle |
5) | Media and The Other Machine as the Other | Film to See Before Class: Them (Gordon Douglas, 1954) |
6) | Media and Reality | Films to See Before Class: Stalker (Tarkovsky, 1979) Readings: Borges - Ficciones |
7) | Media and the Subject The Subject and Performance Lacan's Understanding of the Subject Levinas and the Face Cyberculture and Cyborgs | Films to See Before Class: Bladerunner (Ridley Scott, 1982) Zelig (Woody Allen, 1983) Readings: Kafka - Metamorphosis Camus - The Stranger Dostoyevski - The Double |
8) | Midterm Project Presentations | |
9) | Media, Surveillance and Power Stalking and Empathy Film Spectatorship, Psychoanalysis and Feminism | Film to Watch Before Class: Rear Window (Hitchcock, 1954) |
10) | Media and Agency Media Activism, Participation and Democracy The Ethics of Seeing | Films: Videodrome (Cronenberg, 1983) Readings: Kafka - The Trial |
11) | Media and Crisis | |
12) | Media and Everyday Life Public Space Media and the Body Virtual Bodies and Spaces Posthumanism and Cyberculture | Film to See Before Class: The Alien (Ridley Scott, 1981) |
13) | Media and Spatiality Metropolis Utopia and Dystopia Space and Social Media Space and Identity Non-places | Readings: Calvino - Invisible Cities |
14) | Media and Temporality History and Memory Flâneur and the Internet Technoculture | Readings: Milan Kundera - Slowness Eduardo Galeano - Mirrors |
Course Notes / Textbooks: | Readings: Roland Barthes – Mythologies - AC 25/.B37 1972 Guy Debord – Society of Spectacle - HM 291/.D43 2010 Jorge Luis Borges - Ficciones - PQ 7797 .B635/F5319 2017 Franz Kafka – The Metamorphosis and Other Stories - PT 2621 .A26/A225 1996 Albert Camus – The Stranger - https://www.macobo.com/essays/epdf/CAMUS,%20Albert%20-%20The%20Stranger.pdf Fyodor Dostoyevsky – Notes from Underground and The Double - PG 3326/.N68 2009 Franz Kafka – The Trial - http://www.kkoworld.com/kitablar/Frans_Kafka_Mehkeme-ing.pdf Italo Calvino – Invisible Cities - PQ 4809 .A45/C35 1974 Milan Kundera – Slowness - PQ 2671 .U47/L5613 1996 Films: John Carpenter – They Live (1988) - PN 1995.9 .S26/Y28 2005 Michael Haneke – Benny’s Video (1992) - PN 1997/.H364 2006 Gordon Douglas – Them (1954) - https://archive.org/details/Them.theatrical Andrei Tarkovsky – Stalker (1979) - PN 1997/.S585 2006 Peter Weir – The Truman Show (1998) - PN 1997.2/.T78 2015 Ridley Scott – Blade Runner (1982)- PN 1997/.B634 2007 Woody Allen – Zelig (1983) - https://vimeo.com/518557910 Alfred Hitchcock – Rear Window (1954) - https://vimeo.com/433068100 Ridley Scott – The Alien (1981) - PN 1995.9 .A457Y37 2017 |
References: | Readings: Roland Barthes – Mythologies - AC 25/.B37 1972 Guy Debord – Society of Spectacle - HM 291/.D43 2010 Jorge Luis Borges - Ficciones - PQ 7797 .B635/F5319 2017 Franz Kafka – The Metamorphosis and Other Stories - PT 2621 .A26/A225 1996 Albert Camus – The Stranger - https://www.macobo.com/essays/epdf/CAMUS,%20Albert%20-%20The%20Stranger.pdf Fyodor Dostoyevsky – Notes from Underground and The Double - PG 3326/.N68 2009 Franz Kafka – The Trial - http://www.kkoworld.com/kitablar/Frans_Kafka_Mehkeme-ing.pdf Italo Calvino – Invisible Cities - PQ 4809 .A45/C35 1974 Milan Kundera – Slowness - PQ 2671 .U47/L5613 1996 Films: John Carpenter – They Live (1988) - PN 1995.9 .S26/Y28 2005 Michael Haneke – Benny’s Video (1992) - PN 1997/.H364 2006 Gordon Douglas – Them (1954) - https://archive.org/details/Them.theatrical Andrei Tarkovsky – Stalker (1979) - PN 1997/.S585 2006 Peter Weir – The Truman Show (1998) - PN 1997.2/.T78 2015 Ridley Scott – Blade Runner (1982)- PN 1997/.B634 2007 Woody Allen – Zelig (1983) - https://vimeo.com/518557910 Alfred Hitchcock – Rear Window (1954) - https://vimeo.com/433068100 Ridley Scott – The Alien (1981) - PN 1995.9 .A457Y37 2017 |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 14 | % 10 |
Presentation | 1 | % 20 |
Project | 1 | % 30 |
Final | 1 | % 40 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 30 | |
PERCENTAGE OF FINAL WORK | % 70 | |
Total | % 100 |
Activities | Number of Activities | Duration (Hours) | Workload |
Course Hours | 14 | 3 | 42 |
Study Hours Out of Class | 12 | 6 | 72 |
Presentations / Seminar | 1 | 4 | 4 |
Project | 1 | 4 | 4 |
Final | 1 | 4 | 4 |
Total Workload | 126 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). | 2 |
2) | They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. | 2 |
3) | They are aware of national and international values in performing arts. | 2 |
4) | Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. | 1 |
5) | They have the sensitivity to run a business successfully in their field. | 3 |
6) | Develops the ability to perceive, think, design and implement multidimensional from local to universal. | 3 |
7) | They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. | 2 |
8) | They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. | 3 |
9) | They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. | 1 |
10) | They follow English language resources related to their field and can communicate with foreign colleagues in their field. | 1 |
11) | By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. | 3 |
12) | They can produce original works within the framework of an interdisciplinary understanding of art. | 2 |
13) | Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. | 3 |
14) | Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. | 2 |
15) | They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. | 3 |