| 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 |
| FTV5021 | Film Analysis | Fall | 3 | 0 | 3 | 9 |
| Language of instruction: | English |
| Type of course: | Must Course |
| Course Level: | |
| Mode of Delivery: | |
| Course Coordinator : | Assoc. Prof. TOLGA HEPDİNÇLER |
| Course Objectives: | FTV5021 Film Analysis is designed to equip students with the fundamental vocabulary and analytical tools necessary to critically engage with films. The course explores the core elements of film form and style, including mise-en-scène, cinematography, editing, and sound. Students will examine cinematic narrative structures and storytelling techniques, tracing their historical development and theoretical underpinnings. Through close analysis of selected scenes and sequences, students will develop the ability to deconstruct visual storytelling methods and understand the aesthetic and ideological choices filmmakers make. |
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The students who have succeeded in this course; 1. Remember key film terminology and concepts related to mise-en-scène, cinematography, editing, and sound. 2. Understand the fundamental principles of film form and narrative structure by analyzing various cinematic techniques. 3. Apply film analysis methodologies to critically assess sequences from different films. 4. Analyze the relationships between cinematic style, narrative, and historical context. 5. Evaluate films based on formal, thematic, and ideological considerations, articulating well-supported arguments in written and verbal discussions. 6. Create a well-researched film analysis paper that integrates theoretical perspectives and detailed scene breakdowns. |
| TV5021 Film Analysis is structured to provide a comprehensive exploration of cinematic language throughlectures, discussions, and film screenings. The course begins with an introduction to key concepts in film form and style, followed by an in-depth study of mise-en-scène, cinematography, editing, sound, and narrative structures. Students engage in critical analysis of film sequences, applying theoretical frameworks to their evaluations. The course also covers film genres, documentary, experimental cinema, and film criticism. Assessment includes response papers, class participation, and a final research paper, encouraging both analytical and practical engagement with film studies. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course | |
| 2) | Film as Art | Bordwell, Thompson and Smith, pp.2-49 |
| 3) | Film Form | Bordwell, Thompson and Smith, pp.50-71 |
| 4) | Narrative | Bordwell, Thompson and Smith, pp.72-111 |
| 5) | Mise-en-scene | Bordwell, Thompson and Smith, pp.112-158 |
| 6) | Cinematography | Bordwell, Thompson and Smith, pp.159-215 |
| 7) | Editing | Bordwell, Thompson and Smith, pp.216-262 |
| 8) | Sound | Bordwell, Thompson and Smith, pp.263-302 |
| 9) | Style | Bordwell, Thompson and Smith, pp.303-327 |
| 10) | Film Genre | Bordwell, Thompson and Smith, pp.328-351 |
| 11) | Documentary | Bordwell, Thompson and Smith, pp.352-371 |
| 12) | Experimental Cinema and Animation | Bordwell, Thompson and Smith, pp.371-401 |
| 13) | Film Criticism | Bordwell, Thompson and Smith, pp.402-453 |
| 13) | Film Criticism | Bordwell, Thompson and Smith, pp.402-453 |
| 14) | Student's Presentation |
| Course Notes / Textbooks: | Bordwell, D., Thompson, K., & Smith, J. (2020). Film art: An introduction (12th ed.). McGraw-Hill. |
| References: | - Bazin, A. (2005). What is cinema? (H. Gray, Trans.). University of California Press. - Elsaesser, T., & Hagener, M. (2015). Film theory: An introduction through the senses (2nd ed.). Routledge. - Monaco, J. (2009). How to read a film: Movies, media, and beyond (4th ed.). Oxford University Press. - Braudy, L., & Cohen, M. (Eds.). (2016). Film theory and criticism: Introductory readings (8th ed.). Oxford University Press. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 8 | % 50 |
| Presentation | 1 | % 10 |
| 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 | 13 | 8 | 104 |
| Presentations / Seminar | 1 | 3 | 3 |
| Homework Assignments | 8 | 7 | 56 |
| Paper Submission | 1 | 12 | 12 |
| Total Workload | 217 | ||
| 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 | |
| 2) | Having comprehensive knowledge regarding different media and branches of art | |
| 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) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | |
| 5) | Being able to create a narrative to be used in a fiction or a non-fiction audio-visual moving image product | |
| 6) | Being able to write a script ready to be shot | |
| 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 | |
| 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 | |
| 11) | Having ethical values and a sense of social responsibility |