| 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 |
| FTV5011 | Documentary Film & Video | 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: | |
| Course Coordinator : | Dr. Öğr. Üyesi ELENI VARMAZI |
| Recommended Optional Program Components: | NONE |
| Course Objectives: | This course focuses on the principles of documentary film production. Students will be introduced to the theoretical analysis and practical methods of documentary filmmaking. We will watch several documentary films, analyze them and explore the pre-production, production and post-production processes and techniques for documentary film production. The final films will be screened at a prestigious venue in Istanbul. Selected films might compete in national and international documentary film festivals. (For 3 consecutive years student documentaries that were produced in this class were screened at the Italian Cultural Centre of Istanbul, which was called the “STUDENT SHOW”. Documentaries that were produced in this class were screened and won several awards at well-known National and International Film Festivals including Adana Golden Ball Film Festival and Cannes Film Festival) Duration and Category: 15-20 min. Short & Medium Length Category Documentary Films |
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The students who have succeeded in this course; I. Learning the theoretical principles of non-fiction film making II. Learning the technical skills of non-fiction film making III. Learning interview techniques, non-fiction storytelling methods IV. Ability to analyze and interpret various non-fiction films through modes of documentary film making V. Ability to do field research and field work, i.e., filming interviews, collecting general footage, etc. VI. Ability and the technical skills to tackle contemporary social, cultural, political issues of the society they live in VII. Ability to produce a short to medium length, complete audio-visual, aesthetic, non-fiction story VIII. Ability and confidence to present the finished product publicly |
| In this course, basic and intermediate techniques of documentary film making will be evaluated. |
| Week | Subject | Related Preparation |
| 1) | Introduction to documentary film. (Watching internationally acclaimed documentaries and class analysis) | Arranging student documentary groups (up to 3 people) |
| 2) | Learning the theoretical principles of non-fiction film making & documentary modes | |
| 3) | Writing a proposal for a short/medium length documentary film | Watching and analyzing internationally acclaimed documentaries |
| 4) | Discussing and re-shaping the submitted proposals, learning how to approach subjects, access & permissions | Watching & analyzing internationally acclaimed documentaries |
| 5) | Demonstrating the technical approach, i.e., interview techniques. Students filming on the field | Watching & analyzing student documentaries in class |
| 6) | Screening in-class raw (unedited) footage and interviews, commenting & analyzing students' raw footage | |
| 7) | Screening in-class raw (unedited) footage and interviews, commenting & analyzing students' raw footage | |
| 8) | Collecting general footage, archival material (if necessary) for student documentaries | Watching & analyzing internationally acclaimed documentaries |
| 9) | Storytelling methods, learning how to construct a dramatic narrative arc and submitting midterm documentary film analysis papers | Watching and analyzing internationally acclaimed documentaries |
| 10) | Screening tough cuts of the documentary films. Technical and theoretical commentary on the rough cuts | |
| 11) | Screening tough cuts of the documentary films. Technical and theoretical commentary on the rough cuts | |
| 12) | Working on the narrative arc of the students' documentaries | Watching and analyzing internationally acclaimed documentaries |
| 13) | Editing and fine tuning student documentaries (collecting more general footage and interviews if necessary) | |
| 14) | Screening students' final documentary films |
| Course Notes / Textbooks: | Writing a proposal for a short/medium length documentary film Demonstrating the technical approach, i.e., interview techniques Watching & analyzing internationally acclaimed documentaries Watching & analyzing student documentaries Kısa/orta metraj belgesel film önermesi yazma Teknik çekim kabiliyeti edinme Uluslararası ödüllü belgeselleri izleme ve yorumlama Öğrenci belgeselleri izleme ve yorumlama TEXTBOOKS Documentary Filmmaking Course Pack. A. Taskent Directing the Documentary (Fourth Edition), Michael Rabiger, Focal Press, 2004 A Short Guide to Writing About Film (Fifth Edition), Timothy Corrigan, Pearson Longman, 2004 Introduction to Documentary, Bill Nichols, Indiana University Press, 2001 New Challenges For Documentary (Second Edition), Edited by Alan Rosenthal & John Corner, Manchester University Press, 2005 |
| References: | Screening + Film List Nanook of the North, Robert Flaherty, 1922 Man with the Movie Camera, Dziga Vertov, 1929 Triumph of the will, Leni Riefenstahl, 1935 Nuit et Brouillard (Night and Fog), Alain Resnais, 1955 Gimme Shelter, Albert and David Maysles, 1970 Grey Gardens, Maysles Brothers, 1976 Pumping Iron, George Butler Robert Fiore, 1977 Thin Blue Line, Errol Morris, 1988 Roger & Me, Michael Moore, 1989 Buena Vista Social Club, Wim Wenders, 1999 Southern Comfort, Kate Davis, 2001 Bowling for Columbine, Michael Moore, 2002 Fahrenheit 9/11, Michael Moore, 2004 Supersize Me, Morgan Spurlock, 2004 Machuca, Andres Wood, 2004 Oyun, Pelin Esmer, 2005 Grizzly Man, Werner Herzog, 2005 Born into Brothels, Ross Kaufmann Zana Briski, 2006 Waltz with Bashir, Ari Folman, 2007 Sicko, Michael Moore, 2007 Persepolis, Marjane Satrapi Vincent Paronnaud, 2007 Bizsiz Onlar, Aylin Eren Çağdaş Kaya, 2007 Man On Wire, James Marsh, 2008 Selamsız Kısmeti, Burçin Ünal, Çiğdem Kurtöz, 2009 Dört Duvar Bir Pencere, Hazal Bayar, 2010 Kadın Futbol mu Oynar? Deniz Güven, Kübra Ertuğ, Tan Şahin, 2011 Olympics of a Teahouse, Ji Hun Ahn, Onur Işık Cantürk, 2011 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Application | 1 | % 5 |
| Field Work | 2 | % 10 |
| Quizzes | 1 | % 5 |
| Homework Assignments | 1 | % 5 |
| Presentation | 1 | % 5 |
| Project | 1 | % 5 |
| Midterms | 1 | % 20 |
| Final | 1 | % 35 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Laboratory | 12 | 31 |
| Application | 8 | 28 |
| Field Work | 6 | 12 |
| Study Hours Out of Class | 10 | 12 |
| Total Workload | 125 | |
| 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 | 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 | 5 |
| 5) | Being able to create a narrative to be used in a fiction or a non-fiction audio-visual moving image product | 5 |
| 6) | Being able to write a script ready to be shot | |
| 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 | |
| 8) | Being able to transfer the footage of a film to the digital medium, edit and do other postproduction operations | 5 |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and postproduction | 5 |
| 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 | 4 |
| 11) | Having ethical values and a sense of social responsibility | 4 |