| FILM AND TELEVISION | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| FTV2943 | Film and Tv Criticism | Spring | 3 | 0 | 3 | 5 |
| 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: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Assist. Prof. FUNDA KAYA |
| Recommended Optional Program Components: | - |
| Course Objectives: | This class aims to introduce students critical and contemporary concepts related to film and television criticism. The class will cover contemporary narrative forms and film movements/genres. We will watch and discuss various films that exemplify those novel film movements and contemporary approaches to filmmaking. In addition, examples from contemporary digital televisual media will be examined with their tansformed narrative structures. |
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The students who have succeeded in this course; 1.Identify unconventional narratives, arthouse films, independent filmmaking practices. 2. Will be able to know basic approaches to film criticism. 3. Will be able to identify formal elements and tools of film language 4. Will be able to discuss the filmic texts in relation to basic cultural theories 5. Will be able to approach quality television narratives and their ways of storytelling 6. Will be able to understand contributions of certain contemporary film movements in film history 7. Will be able to write and publish short reviews on contemporary films and television series. |
| This class mainly focuses on basic concepts related to film criticism. Students are expected to watch important films that might be fruitful for discussions on film movements, independent cinema, dogme manifesto, feminist theories, art-house filmmaking and contemporary aesthetics on television screen. This class's learning methods include case studies, fieldwork, observation and group activities. |
| Week | Subject | Related Preparation |
| 1) | Introduction of the syllabus, what is film criticism | |
| 2) | European film movements and exploring concepts like arthouse films, festival films, art films. | |
| 3) | Realism matters:, verisimilitude, mimesis, mockumentary | |
| 4) | Realism matters continued: Dogme 95 manifesto, pure film aesthetics | |
| 5) | American Independent Cinema; Independent from what? Exploring filmic texts from "indiewood" | Submission of first assignment |
| 6) | Introduction to cultural theories Uploading 1st assignments to the class blog | |
| 7) | Indies cntd. / Black Cinema | |
| 8) | Before French New Brutalism / M. Haneke films | |
| 9) | Güncel Yunan Sineması: Greek Weird Movement (Lanthimos) | |
| 10) | Diaspora filmmaking, accented cinema, postcolonical cinema | |
| 11) | Working class hero is something to be: British working class, and other double burdens: age, gender, race discrimination | |
| 12) | Gender Matters, female filmmaking and understanding their critical perspective | Midterm paper submission |
| 13) | Quality TV and what it brings: novel aesthetics, narrative techniques, audience experiences | |
| 14) | Electronic culture, cyberspace, dystopia, technophobia. Contemporary examples from digital television |
| Course Notes / Textbooks: | Bordwell, David. 1985. Narration in Fiction Film. University of Wisconsin Press. Stam, Robert. 2000. Film Theory: An Introduction. Oxford: Blackwell. |
| References: | Bordwell, David. 1985. Narration in Fiction Film. University of Wisconsin Press. Stam, Robert. 2000. Film Theory: An Introduction. Oxford: Blackwell. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Homework Assignments | 1 | % 25 |
| Midterms | 1 | % 30 |
| Final | 1 | % 35 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 65 | |
| PERCENTAGE OF FINAL WORK | % 35 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Field Work | 1 | 5 | 5 |
| Study Hours Out of Class | 14 | 4 | 56 |
| Homework Assignments | 1 | 7 | 7 |
| Midterms | 1 | 8 | 8 |
| Final | 1 | 8 | 8 |
| Total Workload | 126 | ||
| 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 | 5 |
| 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 | 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 | 1 |
| 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, to edit and do other post-production operations | |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | |
| 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 | |
| 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 | 5 |