BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| FILM AND TELEVISION | |||||
| 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 |
| FTV2929 | Non-Fiction Film and TV | Fall | 2 | 2 | 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: | Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
| Course Objectives: | The course introduces the variety and possibility of non-fiction video productions. Students will broaden and widen the perspective in the video creation. It will introduce all essential stages of producing a non-fiction from generate idea, pre-production, production, and post-production. |
Learning Outcomes
|
The students who have succeeded in this course; 1) Will be able to analyze and understand the basic elements of story structure. 2) Will understand the key aspects of constructing non-fiction narratives and the following terms: narrative voice, point of view, theme, arc, and temporality. 3) Will be able to know what makes a good character and how the character functions in relation to narrative. 4) Will be able to evaluate the basic artistic and formal elements that go into the making of non-fiction films. |
Course Content
| This course addresses nonfiction media as both art form and historical practice by exploring the expressive, rhetorical, and political possibilities of nonfiction production. A focus on relationships between form and content and between makers, subjects, and viewers will inform our approach. |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Storytelling in Moving Images | David Bordwell, “Three Dimensions of Film Narrative” |
| 2) | Character | Murray Smith, “Engaging Characters” Bordwell, “Nuance & Niceties” and "Function of Film Sound: The Prestige" |
| 3) | Focalization & Point of View | Chatman, “New Point of View” Jan Simons, “Complex Narratives” Thomas Elsaesser, “The Mind-Game Film” |
| 4) | Authorship & Narrators | Michel Foucault, “What is an Author?” |
| 5) | Classical vs. Art-Cinema Narration | Eleftheria Thanouli, “'Art Cinema' Narration” |
| 6) | Cinema of Attraction | |
| 7) | Experimental Film | |
| 8) | Documentary Film | |
| 9) | Television & Serial Form | |
| 10) | Finding the Story and Story Structure | |
| 11) | Constructing/Editing the Story | |
| 12) | Flashback&Flashforward | |
| 13) | Crime Genre | |
| 14) | Thinking non-narratively and creative |
Sources
| Course Notes / Textbooks: | David Bordwell, Narration in the Fiction Film (University of Wisconsin Press, 1985) Jason Mittell, Complex TV: The Poetics of Contemporary Television Storytelling (NYU Press, 2015) |
| References: |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Homework Assignments | 5 | % 20 |
| Presentation | 2 | % 10 |
| Midterms | 1 | % 30 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Study Hours Out of Class | 14 | 51 |
| Presentations / Seminar | 2 | 6 |
| Homework Assignments | 5 | 20 |
| Midterms | 1 | 3 |
| Final | 1 | 3 |
| Total Workload | 125 | |
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) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 3 |
| 2) | Having comprehensive knowledge regarding different media and branches of art | 3 |
| 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 |
| 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 that could be used in a fiction or a non-fiction audio-visual moving image product | 3 |
| 6) | Being able to write a script ready to be shot | 4 |
| 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 | 3 |
| 8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | 2 |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | 4 |
| 10) | Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | 2 |
| 11) | Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 4 |
| 12) | Having ethical values and a sense of social responsibility | 3 |