| 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 |
| FTV5062 | Special Topics in Film and TV II | 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 : | Dr. Öğr. Üyesi ELENI VARMAZI |
| Course Lecturer(s): |
Dr. Öğr. Üyesi ELENI VARMAZI |
| Recommended Optional Program Components: | None----------------- |
| Course Objectives: | Special Topics II : Hitchcock and his followers The course aims to examine closely and in detail the work of Alfred Hitchcock, one of the most acknowledged “auteurs” in the history of cinema. The course will go further in exploring the filmmakers who tried to imitate Hitchcock (like Brian de Palma, Claude Chabrol etc.) and the heritage that generally Hitchcock left in the suspense- thriller genre. |
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The students who have succeeded in this course; I. Learn how to examine, appreciate and evaluate the work of a director- auteur II. Examine the work of the director through different approaches (psychoanalysis, formalism etc.) III. Be able to recognize the particular characteristics of the directors work (motifs and signature) IV. Develop skills to analyse films in terms of their narrative structure and their aesthetic form V. Become acquainted with the main bibliography concerning Alfred Hitchcock VI. Presenting films within their historical and aesthetical context . |
| Through his films, his interviews and the making ofs we will try to point down the “Hitchcock signature”, in other words all the elements and the motifs he uses repeatedly and in variations during his very productive and long career, in order to build the plot and the suspense in his films. We will explore notions as the "McGuffin", the audience as voyeur, as well as the technological innovations that he brought into fılmmaking. |
| Week | Subject | Related Preparation |
| 1) | Introduction to Hitchcock’s biography and filmography Film: Notorious | |
| 2) | Hitchcock’s work Period’s Film: Frenzy | Readings for the director's work periods |
| 3) | Hitchcock’s work Period’s (con.) Film: Sabotage | Readings for Hitchcock's work periods. |
| 4) | Experimentations in techniques Film: Rope | Readings for Sabotage and the Rope. |
| 5) | Experimentations in techniques (cont.) Film: Buried (Rodrigo Cortes) | Readings for the way other directors were influenced by Hitchcock |
| 6) | Introduction to Golden Period Film: Rear Window | Readings for Hitchcock's golden period |
| 7) | Golden Period (cont.) Personal oral presentations Film: North by Northwest | Research and preparation for the oral presentations |
| 8) | Golden period (cont.) Personal Oral Presentations Film: Vertigo | Research and preparation for the oral presentations |
| 9) | Brian de Palma Personal oral presentations Film: Body Double (Brian de Palma) | Readings for Hitchcock's influence on Brian de Palma |
| 10) | Introduction to the Late Period Film : Birds | Readings for the director's late period |
| 11) | Hitchcock and psychoanalysis Film: Marny | Readings for Hitchcock's films analysis from a psychoanalytical perspective |
| 12) | Psycho and remakes Film: Psycho (the original) | Readings about the film Psycho |
| 13) | Psycho and remakes Film: Psycho (Gus Van Sant) | Readings about the influence of Psycho on other films |
| 14) | Hitchcock and the French Film: The Butcher (Claude Chabrol) | Group presentation |
| Course Notes / Textbooks: | • Hitchcock: A Definitive Study of Alfred Hitchcock, FrancoisTruffaut (Author),Simon & Schuster,1986 |
| References: | Selected readings from/Seçilmiş okumalar: • Hitchcock’s Motifs, Michael Walker, Amsterdam University Press, Amsterdam, 2005 • After Hitchcock, Influence, Imitation and Intertextuality, David Boyed, R. Barton Pelmer (editors), University of Texas Press, Austin, 2006 • Past and Future Hitchcock, Richard Allen, Sam Ishii- Gonzales, Routledge, London, 2004 • A Hitchcock Reader, Marshall Deutelbaum (Editor), Leland Poague (Editor), Wiley-Blackwell, 2009 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Homework Assignments | 2 | % 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) | 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 | 4 |
| 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. | 5 |
| 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 | 3 |
| 6) | Being able to write a script ready to be shot | 2 |
| 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 | 1 |
| 8) | Being able to transfer the footage of a film to the digital medium, edit and do other postproduction operations | 1 |
| 9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and postproduction | 1 |
| 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 | 5 |
| 11) | Having ethical values and a sense of social responsibility | 4 |