PERFORMING ARTS
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

Course Introduction and Application Information

Course Code	Course Name	Semester	Theoretical	Practical	Credit	ECTS
FTV4902	Turkish Cinema II	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.

Basic information

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 evaluate the cinema of Turkey after the 1990s in relation to the social, cultural, economic and political transformation of Turkish society. It aims to provide students the theoretical frame that is necessary to discuss some key issues in film studies as well as in Turkish society.

Learning Outcomes

The students who have succeeded in this course;
1. Develop a critical perspective regarding the new cinema of Turkey;
2. Develop an understanding regarding the socio-political context of films;
3. Explore some key issues in film studies in relation to developments in society;
4. Explore different forms of narration and understand the way of seeing that they produce;
5. Develop an understanding regarding the modernization process in Turkey.

Course Content

This course aims to evaluate the cinema of Turkey after the 1990s in relation to the social, cultural, economic and political transformations in Turkish society. It aims to provide students the theoretical frame that is necessary to discuss some key issues in film studies as well as in Turkish society. The cinema of Turkey is evaluated in relation to the modernization process in Turkey in this course. The narrative form and content of the chosen films will be analyzed from multiple theoretical perspectives and the new wave cinema in Turkey will be discussed in relation with concepts such as justice, ethics, identity (national, ethnic, sexual etc.), tradition and modernity.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	Introduction
2)	Cinema of Turkey: Historical Context I
3)	Cinema of Turkey: Historical Context II
4)	New Cinema of Turkey: Introduction to Main Concepts
5)	New Political Cinema and the Return of the Repressed	Journey to the Sun (Yeşim Ustaoğlu, 1999) [PN 1997.G86 2004]
6)	The City in New Turkish Cinema: Home and the Other	Distant (Nuri Bilge Ceylan, 2002) [PN 1995.9 .F67U93 [2005]
7)	The Cinema of Zeki Demirkubuz: Absoluteness and Ambiguity	Third Page (Zeki Demirkubuz, 1999)
8)	The Cinema of Reha Erdem: The Instinctual	Kosmos (Reha Erdem, 2010)
9)	Paper Presentations
10)
10)	The Cinema of Semih Kaplanoğlu: Tradition as Style	Egg (Semih Kaplanoğlu, 2007) [PN 1997.2.Y87 2007]
11)	The Minimalism of the Everyday	Yozgat Blues (Mahmut Fazıl Coşkun, 2013) [PN 1997.2.Y69 2013]
12)	New Political Cinema	Frenzy (Emin Alper, 2015)
13)	New New Cinema: Dualities Questioned
14)	Homesickness	Inflame (Ceylan Özgün Özçelik, 2017)

Sources

Course Notes / Textbooks:

Önerilen Okuma Listesi:

Abisel, Nilgün (2006). Türk Sineması Üzerine Yazılar. İstanbul: Phoenix Yayınları [PN 1993.5 .T9A24 1994]
Abisel, Nilgün (2013). Çok Tuhaf, Çok Tanıdık. İkinci Basım. İstanbul: Metis Yayınları [PN 1995.Ç65 2005]
Adanır, Oğuz (2006). Kültür, Politika ve Sinema. İstanbul: +1 yayınları [PN 1993.5 .T8A33 2006]
Arslan, Savaş (2010). Cinema in Turkey: A New Critical History. New York: Oxford University Press [PN 1993.5 .T8A77 2011]
Arslan, Umut Tümay (2010). Mazi Kabrinin Hortlakları. İstanbul: Metis Yayınları [PN 1995.9 .S6A77 2010]
Arslan, Umut Tümay (2005). Bu Kabuslar Neden Cemil. İstanbul: Metis Yayınları [PN 1993.5.A77 2005]
Dönmez-Colin, Gönül (2008). Turkish Cinema: Identity, Distance and Belonging. London: Reaktion Books [PN 1993.5 .T8D66 2008]
Erdoğan, Nezih (2017). Sinemanın İstanbul’da İlk Yılları Modernlik ve Seyir Maceraları. İstanbul: İletişim Yayınları [PN 1993.5 .T8E73 2017]
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 [https://www.academia.edu/24560438/Ulusal_Kimlik_Kolonyal_Söylem_ve_Yeşilçam_Melodramı]
Mutlu, Dilek Kaya (2010). “Between Tradition and Modernity: Yeşilçam Melodrama, Its Stars and Their Audiences”. Middle Eastern Studies. 46:3, ss.417-431 [https://www.researchgate.net/publication/233063189_Between_Tradition_and_Modernity_Yesilcam_Melodrama_its_Stars_and_their_Audiences]
Scognamillo, Giovanni (1998). Türk Sinema Tarihi. İstanbul: Kabalcı Yayınları [PN 1993.5 .T84S36 2003]
Suner, Asuman (2009). New Turkish Cinema: Belonging, Identity, and Memory. London: I.B. Tauris. [PN 1993.5 .T8S86 2010]

References:

Recommended Reading List:

Abisel, Nilgün (2006). Türk Sineması Üzerine Yazılar. İstanbul: Phoenix Yayınları [PN 1993.5 .T9A24 1994]
Abisel, Nilgün (2013). Çok Tuhaf, Çok Tanıdık. İkinci Basım. İstanbul: Metis Yayınları [PN 1995.Ç65 2005]
Adanır, Oğuz (2006). Kültür, Politika ve Sinema. İstanbul: +1 yayınları [PN 1993.5 .T8A33 2006]
Arslan, Savaş (2010). Cinema in Turkey: A New Critical History. New York: Oxford University Press [PN 1993.5 .T8A77 2011]
Arslan, Umut Tümay (2010). Mazi Kabrinin Hortlakları. İstanbul: Metis Yayınları [PN 1995.9 .S6A77 2010]
Arslan, Umut Tümay (2005). Bu Kabuslar Neden Cemil. İstanbul: Metis Yayınları [PN 1993.5.A77 2005]
Dönmez-Colin, Gönül (2008). Turkish Cinema: Identity, Distance and Belonging. London: Reaktion Books [PN 1993.5 .T8D66 2008]
Erdoğan, Nezih (2017). Sinemanın İstanbul’da İlk Yılları Modernlik ve Seyir Maceraları. İstanbul: İletişim Yayınları [PN 1993.5 .T8E73 2017]
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 [https://www.academia.edu/24560438/Ulusal_Kimlik_Kolonyal_Söylem_ve_Yeşilçam_Melodramı]
Mutlu, Dilek Kaya (2010). “Between Tradition and Modernity: Yeşilçam Melodrama, Its Stars and Their Audiences”. Middle Eastern Studies. 46:3, ss.417-431 [https://www.researchgate.net/publication/233063189_Between_Tradition_and_Modernity_Yesilcam_Melodrama_its_Stars_and_their_Audiences]
Scognamillo, Giovanni (1998). Türk Sinema Tarihi. İstanbul: Kabalcı Yayınları [PN 1993.5 .T84S36 2003]
Suner, Asuman (2009). New Turkish Cinema: Belonging, Identity, and Memory. London: I.B. Tauris. [PN 1993.5 .T8S86 2010]

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Attendance	14	% 10
Homework Assignments	1	% 30
Presentation	1	% 20
Final	1	% 40
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 60
PERCENTAGE OF FINAL WORK		% 40
Total		% 100

ECTS / Workload Table

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	14	3	42
Study Hours Out of Class	13	6	78
Presentations / Seminar	1	2	2
Homework Assignments	1	2	2
Final	1	3	3
Total Workload			127

Contribution of Learning Outcomes to Programme Outcomes

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