| 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 |
| FTV5929 | A History of Narrative Film | Fall | 3 | 0 | 3 | 7 |
| 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: | Departmental Elective |
| Course Level: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
| Course Lecturer(s): |
Prof. Dr. NİLAY ULUSOY |
| Recommended Optional Program Components: | None |
| Course Objectives: | Since its invention in the late 19th century, cinema has been closely tied to art and society. While its status as a medium of art has often been debated, cinema has from its earliest inception been closely associated with social, cultural, economic, political, and psychological realms both on national and international levels. This class will attempt to give a history of film from its invention to contemporary cinema while the films we will view will give an idea about various episodes of film history. |
|
The students who have succeeded in this course; Demonstrate knowledge of the historical and technological development of film as an art form and a cultural product. Demonstrate in critical essays and oral presentations, an ability to analyze, interpret, and critique films, from a variety of theoretical perspectives. |
| The course offer a comprehensive cinema history. This includes: prehistories of film, art and experimental film, German Expressionism, cinema and colonialism, propaganda film, the Hollywood cinema, the American dream. |
| Week | Subject | Related Preparation |
| 1) | Topic Origins and International Expansion, 1907-1918 | Weekend wieving:“The Cook”, “The Great Train Robbery” |
| 2) | D.W. Griffith and the Development of Narrative Form; | Weekend wieving: “The Birth of a Nation” |
| 3) | Soviet Silent Cinema and the Theory of Montage, 1917-1931: | Weekend wieving: “Battleship Potemkin” |
| 4) | Europe in the Thirties German Cinema of the Weimar Period, 1919-1929; | Weekend wieving: "The Cabinet of Dr Caligari" |
| 5) | Europe in the Thirties The Poetic Realism; | Weekend wieving: |
| 6) | the American Studio System; Hollywood Genres | Weekend wieving: “Rear Window” |
| 7) | Hollywood Invasion at Europe Postwar Cinema: Italian Neo-Realismo | Weekend wieving: “Bicycle Thieves” |
| 8) | The French New Wave and Its Narative Context; | “Breathless” |
| 9) | The British Free Cinema-New Cinema in Britain | “Saturday Night Sunday Morning” |
| 10) | European Renaissance, New German Cinema | “Der Himmel Über Berlin” |
| 11) | New Hollywood 1965-1995 | “Bonnie and Clyde” |
| 12) | 3 World Cinema and Accented Cinema | “Kurz und schmerzlos” |
| 13) | New Turkish Cinema (1990's-...) | The Bandit The Town |
| 14) | paper presentations and discussions |
| Course Notes / Textbooks: | Cook, David A. A History of Narrative Film. 4th Ed. New York and London: W.W. Norton and Company, 2004. There will be a number of supplementary readings that will go together with your text book. You are expected to read these texts before coming to class and be able to write on them in your response papers. |
| References: |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Quizzes | 1 | % 5 |
| Homework Assignments | 1 | % 5 |
| Presentation | 1 | % 10 |
| Midterms | 1 | % 30 |
| 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 | 16 | 7 | 112 |
| Homework Assignments | 2 | 10 | 20 |
| Midterms | 1 | 10 | 10 |
| Final | 1 | 20 | 20 |
| Total Workload | 204 | ||
| 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 | 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 | 4 |
| 5) | Being able to create a narrative to be used in a fiction or a non-fiction audio-visual moving image product | 4 |
| 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, edit and do other postproduction operations | 2 |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and postproduction | 2 |
| 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 | 2 |
| 11) | Having ethical values and a sense of social responsibility | 5 |