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 |
| FTV2949 | Popular Culture & Cinema | Spring | 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: | Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi DENİZ GÜRGEN |
| Recommended Optional Program Components: | |
| Course Objectives: | The objective of this course is to discuss and identify cinema as a popular art form to entertain audiences worldwide in the context of media culture. The course aims to charactirize the significance of popular cinema through its association with the social dynamics of the society and its transformative power by addressing the theories of popular culture within the intertexual perspective of cultural studies. |
Learning Outcomes
|
The students who have succeeded in this course; 1) Comprehends the principal theories and characteristic discussions in the field of popular culture. 2) Be able to identify and discuss film in the context of popular culture within the practices of production and consumption. 3) Be able to discuss film genres in the context of popular culture. 4) Be able analyze the relationship of independent film production and art house cinema within the structures of popular culture. 5) Be able to discuss the relationship between historiography, popular culture and blocbuster cinema. 6) Be able to identify and evaluate popular cinema by following the paths of feminist criticism under the wider context of popular culture and gender studies. |
Course Content
| In Popular Culture and Cinema course we'll discuss cinema as one of the most popular art forms to be involved in and shape the entertainment industry with recent examples from Hollywood and Cinema in Turkey. The concept of film genre will be analized with examples in national and international context. The examples of recent blockbuster productions in Hollywood and cinema in Turkey will be discussed in the context of feminist criticism and historiography. |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Introduction | |
| 2) | Popular culture and Cinema | |
| 3) | Film Genres: Action, Melodram, Horror | |
| 4) | Hollywood Blockbuster in 2000's, Adaptations of Marvel & DC Comics | |
| 5) | Popular Cinema and Feminist Criticism | |
| 6) | Postfeminism and Recent Blockbuster film: The Strong Heroine. | |
| 7) | Midterm Presentations | |
| 8) | Historiography and Popular Cinema | |
| 9) | Historiography and Popular Cinema: Representation of World War II in Hollywood | |
| 10) | Popular Cinema in Turkey | |
| 11) | Representation of Early Republican Period in recent Cinema of Turkey | |
| 12) | "Out of the box" Integration of Independent cinema in Popular Culture | |
| 13) | Final Presentations | |
| 14) | Final Presentations & Review |
Sources
| Course Notes / Textbooks: | 1. Kellner, D. 2003. Media Culture: Identity and Politics Between Modern and Postmodern. Routledge. London & New York 2. Elsaesser, T. 2001. “The Blockbuster: Everything Connects, But Not Everything Goes.” In The End of Cinema as We Know It, edited by J. Lewis, 11–22. New York: New York University Press. 3.Stuart, H., 1973. Encoding and Decoding in Television Discourse. UK. University of Birmingham 4 .Gürgen Atalay, D. 2018. Historiography of World War II in Contemporary American Cinema. Newcastle upon Tyne: Cambridge Scholars Publishing 4. Douglass Kellner and Michael Ryan Camera Politica: The politics and Ideology of Contemporary Hollywood Film (1988). 5. Mulvey, Laura (1975) ‘Visual pleasure and narrative cinema’, Screen, vol. 16, no. 3, pp. 6–18. 6. Modleski, Tania (1991), Feminism without Women: Culture and Criticism in a ‘Postfeminist’ Age, London: Routledge. |
| References: | Gürgen, D., 2016. Interpreting Chronotope as a Historiographical Tool in Elevator to the Gallows in Consciousness, Theatre, Literature and Arts, edt. Dinkgrafe, D. M., Newcastle upon Tyne: Cambridge Scholars Publishing Hobsbawm, E., 2009. On History. London: Abacus. Laine, T., 2013. Feeling Cinema: Emotional Dynamics in Film Studies. New York: Bloomsbury Publishing. |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Midterms | 1 | % 45 |
| Final | 1 | % 55 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 45 | |
| PERCENTAGE OF FINAL WORK | % 55 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 13 | 3 | 39 |
| Study Hours Out of Class | 13 | 6 | 78 |
| Presentations / Seminar | 2 | 5 | 10 |
| Midterms | 1 | 4 | 4 |
| Final | 1 | 4 | 4 |
| Total Workload | 135 | ||
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 | 3 |
| 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 | 3 |
| 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 | 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 | 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 |