| 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
