DIGITAL GAME DESIGN | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
FTV4901 | Turkish Cinema I | Spring | 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 : | Assist. Prof. DENİZ GÜRGEN |
Course Lecturer(s): |
Assist. Prof. DENİZ GÜRGEN |
Recommended Optional Program Components: | None |
Course Objectives: | This course aims to evaluate the cinema of Turkey before the 1990s in its socio-political, economical and cultural context. |
The students who have succeeded in this course; 1. Understand the History of Cinema in Turkey by acquiring foundational knowledge about the history of Turkish cinema, with a particular focus on the development and influence of Yeşilçam Cinema. 2. Connect Cinema in Turkey and National History through examining the connections between Turkey's historical developments and their reflections in Turkish cinema, highlighting cultural and social influence 3. Critically Evaluate Modernization and Cinema by developing the ability to problematize the relationship between Turkey's modernization process and its impact on the themes, narratives, and production of Turkish cinema. 4. Apply Theoretical Perspectives to Film Analys Gain in interpreting and analyzing films using relevant cinematic theories and critical perspectives. 5. Assess Yeşilçam Cinema within the framework of popular film genres and movements, identifying its defining characteristics, cultural significance, and legacy. |
This course explores the socio-cultural, historical and ideological background of cinema in Turkey until the 1990s. The cinema of Turkey is evaluated in relation to the modernization process in Turkey and Turkish modernity. The narrative form and content of the chosen films are analyzed from multiple theoretical perspectives and films of particular eras in the cinema of Turkey are discussed in the context of concepts such as identity, migration, gender and urbanization. |
Week | Subject | Related Preparation |
1) | Course Syllabus | |
2) | Discussions on the Concept of National Cinema | Aşk Filmlerinin Unutulmaz Yönetmeni (1990) |
3) | The Modernization Process Cinema between 1910 and 1922 and film screening as a spectatorial practice The impact of traditional arts on cinema in Turkey The Period of Theater Men The Period of Transition | Films: Muhsin Ertuğrul- Ateşten Gömlek (1923) Muhsin Ertuğrul - Bir Millet Uyanıyor (1932) Lütfi Akad - Vurun Kahpeye (1949) Faruk Kenç - Yılmaz Ali (1940) Turgut Demirağ - Bir Dağ Masalı (1947) |
3) | The Period of Cinema Men | Film: Lütfi Akad - Kanun Namına (1952) |
4) | The Period of Cinema Men | Film: Memduh Ün - Üç Arkadaş (1958) |
5) | Yeşilçam as an Industry | Arslan, Savaş. Cinema in Turkey: A New Critical History, pp.97-124 Abisel, Nilgün. Türk Sinemasi Üzerine Yazilar |
6) | Yeşilçam as an Industry II | Arslan, Savaş. Cinema in Turkey: A New Critical History, pp.97-124 Abisel, Nilgün. Türk Sinemasi Üzerine Yazilar |
7) | Genres and Narration in Yeşilçam | Arslan, Savaş. Cinema in Turkey: A New Critical History, pp.125-199 Abisel, Nilgün. Çok Tuhaf Çok Tanıdık Vesikalı Yarim Üzerine |
8) | Midterm | |
9) | Popular Cinema and Historiography: Historical Films of Independence War | Özgüç, Agah. Kurtuluş Savaşı Filmleri, Antrakt 1990 pp.14-19 |
10) | Yeşilçam in 80’s Cinema in Turkey in 90’s | Arslan, Savaş. Cinema in Turkey: A New Critical History, pp. 201-272 |
11) | Auteur Cinema | Film: Ömer Kavur - Anayurt Oteli (1987) |
12) | Women's Films | Film: Atıf Yılmaz - Adı Vasfiye (1985) |
13) | Discussions on New Cinema in Turkey | |
14) | Final Presentations |
Course Notes / Textbooks: | Abisel, Nilgün (2006). Türk Sineması Üzerine Yazılar. İstanbul: Phoenix Yayınları Adanır, Oğuz (2006). Kültür, Politika ve Sinema. İstanbul: +1 yayınları Akser, Murat (2009). Yılmaz Güney’s Beautiful Losers: Idiom and Performance in Turkish Political Film. Cinema and Politics: Turkish Cinema and Europe içinde. Deniz Bayrakdar (Ed.). UK: Cambridge Scholars Publishing Arslan, Savaş (2010). Cinema in Turkey: A New Critical History. New York: Oxford University Press Arslan, Umut Tümay (2010). Mazi Kabrinin Hortlakları. İstanbul: Metis Yayınları Dönmez-Colin, Gönül (2008). Turkish Cinema: Identity, Distance and Belonging. London: Reaktion Books Erdoğan, Nezih. “Yeşilçam’da Sessiz Bedenler, Bedensiz Sesler”. http://www.neziherdogan.net/articles/filmsoundtr/bedenses.htm Erdoğan, Nezih (1995). “Ulusal Kimlik, Kolonyal Söylem ve Yeşilçam Melodramı”. Toplum ve Bilim. Sayı:67, ss.178-196 Evren, Burçak (2014). Yücel Çakmaklı: Milli Sinemanın Kurucusu. İstanbul: Küre Yayınları Kayalı, Kurtuluş (1994). Yönetmenler Çerçevesinde Türk Sineması. Ankara: Ayyıldız Yayınları Mutlu, Dilek Kaya (2007). “The Russian Monument at Ayastefanos: Between Defeat and Revenge, Remembering and Forgetting”. Middle Eastern Studies. 43:1, ss.75-86 Mutlu, Dilek Kaya (2010). “Between Tradition and Modernity: Yeşilçam Melodrama, Its Stars and Their Audiences”. Middle Eastern Studies. 46:3, ss.417-431 Özön, Nijat (2010). Türk Sineması Tarihi. İstanbul: Doruk Yayınları Scognamillo, Giovanni (1998). Türk Sinema Tarihi. İstanbul: Kabalcı Yayınları |
References: | Abisel, Nilgün (2006). Türk Sineması Üzerine Yazılar. İstanbul: Phoenix Yayınları Adanır, Oğuz (2006). Kültür, Politika ve Sinema. İstanbul: +1 yayınları Akser, Murat (2009). Yılmaz Güney’s Beautiful Losers: Idiom and Performance in Turkish Political Film. Cinema and Politics: Turkish Cinema and Europe içinde. Deniz Bayrakdar (Ed.). UK: Cambridge Scholars Publishing Arslan, Savaş (2010). Cinema in Turkey: A New Critical History. New York: Oxford University Press Arslan, Umut Tümay (2010). Mazi Kabrinin Hortlakları. İstanbul: Metis Yayınları Dönmez-Colin, Gönül (2008). Turkish Cinema: Identity, Distance and Belonging. London: Reaktion Books Erdoğan, Nezih. “Yeşilçam’da Sessiz Bedenler, Bedensiz Sesler”. http://www.neziherdogan.net/articles/filmsoundtr/bedenses.htm Erdoğan, Nezih (1995). “Ulusal Kimlik, Kolonyal Söylem ve Yeşilçam Melodramı”. Toplum ve Bilim. Sayı:67, ss.178-196 Evren, Burçak (2014). Yücel Çakmaklı: Milli Sinemanın Kurucusu. İstanbul: Küre Yayınları Kayalı, Kurtuluş (1994). Yönetmenler Çerçevesinde Türk Sineması. Ankara: Ayyıldız Yayınları Mutlu, Dilek Kaya (2007). “The Russian Monument at Ayastefanos: Between Defeat and Revenge, Remembering and Forgetting”. Middle Eastern Studies. 43:1, ss.75-86 Mutlu, Dilek Kaya (2010). “Between Tradition and Modernity: Yeşilçam Melodrama, Its Stars and Their Audiences”. Middle Eastern Studies. 46:3, ss.417-431 Özön, Nijat (2010). Türk Sineması Tarihi. İstanbul: Doruk Yayınları Scognamillo, Giovanni (1998). Türk Sinema Tarihi. İstanbul: Kabalcı Yayınları |
Semester Requirements | Number of Activities | Level of Contribution |
Homework Assignments | 1 | % 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 | Workload |
Course Hours | 14 | 42 |
Study Hours Out of Class | 13 | 48 |
Presentations / Seminar | 1 | 5 |
Project | 1 | 4 |
Homework Assignments | 1 | 4 |
Midterms | 2 | 12 |
Final | 2 | 8 |
Total Workload | 123 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Comprehend the conceptual importance of the game in the field of communication, ability to implement the player centered application to provide design. | |
2) | Analyze, synthesize, and evaluate information and ideas from various perspectives. | |
3) | Analyze the key elements that make up specific game genres, forms of interactions, mode of narratives and understand how they are employed effectively to create a successful game. | |
4) | Understand game design theories and methods as well as implement them during game development; to make enjoyable, attractive, instructional and immersive according to the target audience. | |
5) | Understand the technology and computational principles involved in developing games and master the use of game engines. | |
6) | Understand the process of creation and use of 2D and 3D assets and animation for video games. | |
7) | Understand and master the theories and methodologies of understanding and measuring player experience and utilize them during game development process. | |
8) | Comprehend and master how ideas, concepts and topics are conveyed via games followed by the utilization of these aspects during the development process. | |
9) | Manage the game design and development process employing complete documentation; following the full game production pipeline via documentation. | |
10) | Understand and employ the structure and work modes of game development teams; comprehend the responsibilities of team members and collaborations between them while utilizing this knowledge in practice. | |
11) | Understand the process of game publishing within industry standards besides development and utilize this knowledge practice. | |
12) | Pitching a video game to developers, publishers, and players; mastering the art of effectively communicating and marketing the features and commercial potential of new ideas, concepts or games. |