| This course examines the shift from traditional cinematic spectacle to works probing the frontiers of interactive, performative, and networked media. Drawing upon a broad range of scholarship, including film theory, communication studies, cultural studies and new media theory, the course will consider how digital technologies are transforming the semiotic fabric of contemporary visual culture.In this course, students will develop their ability to analyze and synthesize film and media theories through interactive lessons, and case studies, while also gaining an in-depth understanding of the subject via project-based applications. Instruction is managed using individual reports, group presentations, and continuous feedback mechanisms, with student success being objectively measured through these multidimensional evaluation methods. In this course, the analysis and synthesis of film and media theories are taught through interactive lessons, seminars, and case studies supported by project-based applications, while student success is objectively assessed through individual reports, group presentations, and continuous feedback mechanisms. |
| Week |
Subject |
Related Preparation |
| 1) |
Introduction to Digital Media, concepts and examples |
|
| 2) |
What is media arts? |
|
| 3) |
What was Cinema? |
Rodowick, The Virtual Life of Film/ 1-87 |
| 4) |
Cinema in the Digital Era |
Lev Manovich. “What is Digital Cinema” |
| 5) |
BIG SCREENS/Immersive VIEWS: 3D/IMAX/Google Earth |
"Leon Gurevitch and Miriam Ross “STEREOSCOPIC MEDIA: Scholarship beyond Booms and Busts,” 3D Cinema and Beyond, eds. Dan Adler, Janine Marchessault and Sanja Obradovic (Intellect Books, 2013) pp 72-82.
Anna Munster, “Welcome to Google Earth” in Arthur and Marilouise Kroker (eds), Critical Digital Studies Reader (Toronto: University of Toronto Press, 2008, pp 397-416.
Susan Stewart, “The Gigantic,” On Longing: Narratives of the Minature, the Gigantic, the Souvenir, the Collection (Baltimore and London: John Hopkins University Press, 1984, pp. 70-102.)." |
| 6) |
Transmedia Storytelling |
Mittell, Complex TV, “Transmedia Storytelling” |
| 7) |
Videogames & Experimental Modes of Narration |
Henry Jenkins, “Game Design as Narrative Architecture”
Gonzalo Frasca, “Ludologists Love Stories Too”
Scott Higgins, “Seriality’s Ludic Promise” |
| 8) |
LOCATIVE MEDIA (mobiles- smartphones) |
|
| 9) |
VOD (Video on demand) |
|
| 10) |
Covid-19 Pandemic and Online Film Festivals |
|
| 11) |
Music Videos includes internet and new technologies (vine,360 degree, boomerang) |
|
| 12) |
Virtual Reality |
|
| 13) |
Bio-Art |
Cary Wolfe, “From Dead Meat to Glow-in-the-Dark Bunnies: The Animal Question in Contemporary Art.” in What is Posthumanism? (2010), 145-168.
Optional: Gregory Sholette, “The Unnameable” in Dark Matter: Art and Politics in the Age of Enterprise Culture pp 135-151.
Christina Agapakis and Sissel Tolaas, “The Inside-Out Body” in Synthetic Aesthetics: Investigating Synthetic Biology’s Designs on Nature (Cambridge: MIT Press, 2014), 271-282. |
| 14) |
THE RELATIONSHIP BETWEEN FILMS AND AI |
|
| |
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 |
2 |
| 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 |
2 |
| 4) |
Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey |
3 |
| 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 |
3 |
| 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 |
4 |
| 8) |
Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations |
4 |
| 9) |
Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages |
3 |
| 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 |
4 |
| 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 |
3 |
| 12) |
Having ethical values and a sense of social responsibility |
3 |
BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
