| 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 |
| FTV5061 | Special Topics in Film and TV I | Spring 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: | Face to face |
| Course Coordinator : | Assoc. Prof. ELENI VARMAZI |
| Course Lecturer(s): |
Assoc. Prof. ELENI VARMAZI |
| Recommended Optional Program Components: | None |
| Course Objectives: | Course title: Three European movements in the mid 20th century (Italian Neorealism, French Nouvelle Vague, British Free Cinema) and their influence on American Independent Cinema The course examines the three most important European movements in the History of Cinema that took place immediately after the 2nd World War, as well as the way they influenced each other in their consecutive chronological order. |
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The students who have succeeded in this course; 1) Learn the particular historical, aesthetic and technical characteristics of the 3 movements and American Independent Cinema. 2) Get acquainted with the most known directors, actors etc of the 3 movements and the “Indies”. 3) Watch, analyze and learn the landmark films of those cinematic periods. 4) Develop skills to analyze films in terms of their narrative structure and their aesthetic form. 5) Get acquainted with the theoretical framework of those periods. |
| These three movements changed the traditional ways of film production. They offered new theories and techniques in filmmaking and shifted the subject matters of the screenplays into new directions. Neorealism took filmmaking out of the studios, employed amateur actors and dealt with common human stories in post 2nd WW Italy. French New Wave in 1950’s created the notion of cinephil, the “auteur” theory and the “camera- stylo”. A circle of theorists and film directors used Les Cahiers du Cinema and the Cinematheque Francaise as a step to express their ideology and thinking about cinema. British Free Cinema or “Kitchen sink” cinema was the result of a search of identity of British film production in the late 50’s and the beginning of 60’s. The issues that occupied the films of the movement were: angry youth, the working class and adaptations of contemporary novels. Making a lapse of time the course will continue with the examination of American Independent Cinema and the influence that the three European movements had on it. Although Independent filmmaking in USA existed before the 80’s with directors such as John Casavetes, the term “indie” film predominately appeared in the mid-eighties with films such as Stranger than Paradise, She’s gotta have it and Sex lies and videotape. The course explores the definitions of ''independent'' film in terms of its means of production and in its dialectical relationship with the commercial mainstream film production. In particular the course seeks to examine how the “indie” film, influenced by European Cinema, is distinguished by its more complex or decentered narrative structure and how its ideology employs alternative issues such as racism, gender, violence etc. Evaluation Methods: -Critical ability -Analytical ability -Discursive ability -Writing ability -Adherence to guidlines Grading Methods: -Weekly Reading -Weekly film watching -Weekly active participation in discussions -Mid-term Oral Presentation -Final paper |
| Week | Subject | Related Preparation |
| 1) | Introduction to Italian Neorealism (Bycicle Thieves), the situation of Europe after the WW II | |
| 2) | Italian Neorealism (Germany year zero), continuing the theory and characteristics of the movement. | Readings from Italian Neorealism. |
| 3) | Italian Neorealism (Bitter Rice), the decline of the movement in Italy. | Readings for the legacy of Italian Neorealism. |
| 4) | Italian Neorealism's influence on other National Cinemas. Group Project. | Research and preparation for the group presentation. |
| 5) | Introduction to French New Wave (400 Blows), the auteur theory, camera stylo etc. | |
| 6) | French New Wave (Breathless), continuing the theory of French New Wave. | Readings for the French New Wave. |
| 7) | French New Wave (Cleo from 5 to 7), The Left Bank. | Readings for the Left Bank. |
| 8) | Introduction to British Free Cinema (Saturday night Sunday morning) | |
| 9) | British Free Cinema (The loneliness of a long distance runner), continuing the theory for British Free Cinema. | Readings for British Free Cinema. |
| 10) | British Free Cinema (This sporting life). Begining of Personal Presentations. | Readings, research and preparation for Personal Presentation. |
| 11) | Introduction to American Independent Cinema (Down by law) | Readings, research and preparation for Personal Presentation. |
| 12) | American Independent Cinema (cont.) Personal Presentations. | Preparation for the students' Personal presentations. |
| 13) | American Independent Cinema (Do the right thing), continuing the theory for American Independent Cinema. | Readings for American Independent Cinema. |
| 14) | American Independent Cinema (Drugstore cowboy), continuing with the movement and looking at the influences of the european movements on American Independent Cinema. | Readings for American Independent Cinema. |
| Course Notes / Textbooks: | Selected readings from: • Closely Watched Films: An Introduction to the Art of Narrative Film Technique, Fabe Marilyn, University of California Press, Berkeley and Los Angeles 2004 • Italian Neorealism- Rebuilding the Cinematic City, Shiel Mark, Wallflower Press, 2005 • Making Waves- New Cinemas of the 1960’s, Geoffrey Nowell- Smith, Continuum, New York, 2008 • American Independent Cinema: A Sight and Sound Reader, Hillier Jim, British Film Institute, London 2008 • American Independent Cinema, King Geoff, Indiana University Press, I.B. Tauris, London and New York 2009 |
| References: |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Homework Assignments | 12 | % 15 |
| Presentation | 1 | % 15 |
| Project | 1 | % 25 |
| Final | 1 | % 35 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 15 | 5 | 75 |
| Presentations / Seminar | 1 | 15 | 15 |
| Project | 1 | 15 | 15 |
| Final | 1 | 20 | 20 |
| Total Workload | 167 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Students will develop a strong foundation in film theory and criticism, enabling them to engage in academic discussions on cinematic aesthetics and narrative structures. They will learn to apply critical methodologies to analyze films from various historical and cultural contexts. | 1 |
| 2) | Students will gain a broad knowledge of the historical and sociological contexts of global cinema television productions by studying important films from the history of cinema and gain ideas for creating their own works. Students will master the methods of fiction or documentary storytelling through courses based on screenwriting, cinematography and lighting, directing, post-production. | 5 |
| 3) | Students will explore the relationship between cinema and reality by studying documentary filmmaking and its ethical, political, and aesthetic implications. They will gain hands-on experience in documentary production, learning to craft compelling visual narratives based on real-world subjects. | 5 |
| 4) | Students will enhance their ability to communicate through visual storytelling by studying cinematic language, composition, and mise-en-scène. They will analyze and create scenes using different cinematic techniques to convey emotions and meaning effectively. | 1 |
| 5) | Students will refine their screenwriting skills by mastering narrative structure, character development, and dialogue. They will write and workshop original scripts, preparing them for professional careers in film and television writing. | 1 |
| 6) | Students will gain expertise in directing techniques, working with actors, and visual composition to create engaging cinematic experiences. They will direct short projects that demonstrate their ability to translate written narratives into compelling visual storytelling. | 1 |
| 7) | Students will gain insight into the global film industry, including production, distribution, and marketing strategies. They will develop professional skills necessary to navigate the industry, from pitching projects to networking with industry professionals. | 2 |
| 8) | Students will explore the historical evolution of Turkish cinema, from early productions to contemporary trends, analyzing key directors, genres, and movements. They will also examine the production models in the Turkish film industry, including independent filmmaking, mainstream cinema, and government-supported productions. | 1 |