| 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 |
| FTV5001 | Horror, Gender and Society | Spring | 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: | Face to face |
| Course Coordinator : | Prof. Dr. OSMAN KAYA ÖZKARACALAR |
| Course Lecturer(s): |
Prof. Dr. OSMAN KAYA ÖZKARACALAR |
| Recommended Optional Program Components: | None |
| Course Objectives: | This course aims to study horror cinema as a genre cinema reflecting various ‘otherization’ dynamics at work in the western society. |
|
The students who have succeeded in this course; I. Become familiar with the history of horror cinema II. Become familiar theoretical approaches to horror cinema in film theory III. Understand the dynamics at work in the correlation between shifiting trends in genre cinema and macro socio-cultural change IV. Gain the capability to analyse a genre film with conceptual tools of film theory V. Understand the concept of auteur in cinema VI. Understand the possible pleasures at work in film spectatorship VII. Gain the capability to critically evaluate past and current approaches in film theory with respect to gender and gaze. |
| The main weight of the course will be on gender-related issues, ie. it will largely cover cases where the horror movie monster stands for the female sex and/or deviations from the sexual norms. Special attention will be given to recent approaches which emphasize the masochistic pleasures at work in horror movie spectatorship. The second area of interest will be cases where the monsters can be seen as standing for foreign cultures, minorities, ‘lower’ classes and the like. The course will emphasize the historical dimension of studying genre cinema so as to determine the shifting trends and see the correlations of these with socio-cultural change in general. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course | - |
| 1) | Final essay | preparing the final essay |
| 2) | Brief history of horror cinema | reading |
| 3) | Intro to how to approach horror cinema in film theory | reading |
| 4) | Return of the repressed - classic cases-1 | reading and film watching |
| 5) | return of the Repressed - classic cases-2 | reading and film watching |
| 6) | Transgresive examples | reading and film watching |
| 7) | Horror films from auteurs | reading and film watching |
| 8) | Horror movies with a political agenda - 1 | reading and film watching |
| 9) | Horror movies iwth a political agenda - 2 | reading and film watching |
| 10) | Dawn of the 'Final Girl' | reading and film watching |
| 11) | Rape and revenge - 1 | reading and film watching |
| 12) | Rape and revenge - 2 | reading and film watching |
| 13) | Revisiting feminist criticism | reading |
| 14) | Presentations | preparation for the presentation |
| 15) | Presentations | preparation for the presentation |
| 16) | Final essay | preparing the final essay |
| Course Notes / Textbooks: | Andrew Tudor, Monsters & Mad Scientists (1991, Blackwell) Robin Wood, Hollywood from Vietnam to Reagan (2003, Coumbia U. Press) Carol Glover, Men, Women & Chainsaws: Gender in the Horror Film (1993, Princeton U. Press) |
| References: | - |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 15 | % 10 |
| Presentation | 1 | % 45 |
| Final | 1 | % 45 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 55 | |
| PERCENTAGE OF FINAL WORK | % 45 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 15 | 3 | 45 |
| Study Hours Out of Class | 16 | 8 | 128 |
| Final | 1 | 2 | 2 |
| Total Workload | 175 | ||
| 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 | |
| 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) | 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 to be used in a fiction or a non-fiction audio-visual moving image product | 4 |
| 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 | 3 |
| 8) | Being able to transfer the footage of a film to the digital medium, edit and do other postproduction operations | |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and postproduction | 4 |
| 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 |