FILM AND TELEVISION
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

Course Introduction and Application Information

Course Code	Course Name	Semester	Theoretical	Practical	Credit	ECTS
ARC3907	Architecture and Cinema	Spring	2	0	2	4

This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester.

Basic information

Language of instruction:	English
Type of course:	Non-Departmental Elective
Course Level:	Bachelor’s Degree (First Cycle)
Mode of Delivery:	Face to face
Course Coordinator :	RA BÜŞRA ATAM
Recommended Optional Program Components:	listesi verilen filmlerin seyredilmesi
Course Objectives:	This course aims at analysing the “space” and “time” that are the two main components of both architecture and cinema through selected filmography. The reciprocal relationship between architecture and cinema will be diccussed via certain themes in various scales ¬_ranging from object to urban space. A critical debate is intended regarding the thresholds in the history of cinema and architectural/urban development in the light of zeitgeist of the epoches and the philosophical turnovers.

Learning Outcomes

The students who have succeeded in this course;
1. recognize significant films that make use of architecture as significant set
2. recognize and discuss the evolution of concepts of space and time in relation to architecture and cinema
3.develops a criticial viewpoint through the analysis of films
4.explores the vision of architecture of the future in films and discuss the concepts of utopia and dystopia
5.analyze the use of suburban/ urban space and city image in films

Course Content

Within the scope of this course, each week spatial and architectural critics of the selected films will be carried out through various themes. Spatio-temporality, the critics of modernity, suburban life, capitalist space, utopias and dystopias are among the themes that would lead the discussions.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	Early Film and Its Use of Architecture as Significant Set	The Cabinet of Dr. Caligari (1920, Robert Wiene Metropolis (1927, Fritz Lang
2)	Space and Time	Battleship Potemkin (1925), Sergei Eisenstein Dogville (2003, Lars von Trier
3)	Social Criticism and Modernity	Modern Zamanlar (1936), Charlie Chaplin Playtime (1967) Jacques Tati
4)	Criticism of Suburban Life	The Truman Show (1999) Peter Weir La Haine (1995) Mathieu Kossovitz
5)	Criticism of Capitalist Space	Fight Club (1999), David Fincher Empty House (2004), Kim Ki Duk
6)	Vision of Architecture of Future- Utopia/Dystopia	Alphaville (1965) Jean-Luc Godard Blade Runner (multiple versions) [1982] Ridley Scott
7)	Vision of Architecture of the Future -Utopia/Dystopia	Minority Report (2002) Steven Spielberg Matrix (1999) Larry ve Andy Wachowski
8)	Midterm
9)	The Architecture of Space
10)	The Architect in Film	The Fountainhead (1949), King Vidor My Architect (2003), Nathaniel Kahn
11)	City and Cinema	Pier Paolo Pasolini Mamma Roma (1962) medea (1969) Amarcord (1973), Federico Fellini Tiffany’de Kahvaltı, 1961, Blake Edwards
12)	City and Cinema	(limited city) Berlin Üzerinde Gökyüzü (1987), Wim Wenders (post-modern city Falling Down (1992), Joel Shumacher Night on Earth (1992) Jim Jarmush
13)	Istanbul in Cinema	Ağır Roman (1996), Mustafa Altıoklar Uzak (2002), Nuri Bilge Ceylan
14)	Presentations

Sources

Course Notes / Textbooks:

gerektiğinde verilir

given when necessary

References:

1) Mark Lamster, editor. Architecture and Film. Princeton Architectural Press, 2000.

2)Donald Albrecht. Designing Dreams: Modern Architecture in the Movies. Hennessey + Ingalls, Santa Monica, 2000.

3)Maggie Toy, editor. A.D. Architectural Design Profile no. 112. Architecture and Film. Academy Group Ltd. 1994.

4) Maggie Toy, editor. A.D. Architectural Design Profile no. 150. Architecture + Animation. Wiley-Academy. 2001.

5) Francois Penz, editor. Cinema & Architecture: Melies, Mallet-Stevens, Multimedia. British Film Institute, 1997.

6) Thomas Hine. Movie Houses. Architectural Record. 04.02.

7) Terry Smith, editor. Impossible Presence: Surface and Screen in the Photographic Era. University of Chicago Press

8) Mehmet Öztürk, Sine-Masal Kentler. Modernitenin İki Kahramanı Kent ve Sinema Üzerine Bir İnceleme, Don Kişot Yayınları, 2005.

9) Nurçay Türkoğlu, Mehmet Öztürk ve Göksel Aymaz. Kentte Sinema, Sinemada Kent, Yeni Hayat Kütüphanesi, 2004.

10) Seçil Büker, Sinemada Anlam Yaratma. Hayalperest Kitabevi, 2012.

11)J. Dudley Andrew. Sinema Kuramları. İzdüşüm Yayınları, 2007.

12) Açalya Allmer, editör. Sinemekan. Varlık Yayınları, 2010.

13) Belkıs Uluoğlu, Ayhan Enşici, Ali Vatansever, editör. Form Follows Film. Cambridge Scholars Press, 2006.

14) Mallet Stevens Melies.Ed By François Penz and Marueen Thomas. British Film Institute, 1997. Cinema and Architecture.

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Attendance	14	% 10
Homework Assignments	1	% 15
Presentation	1	% 15
Midterms	1	% 20
Final	1	% 40
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 60
PERCENTAGE OF FINAL WORK		% 40
Total		% 100

Contribution of Learning Outcomes to Programme Outcomes

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	4
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	1
4)	Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey	1
5)	Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product	2
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
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	3
12)	Having ethical values and a sense of social responsibility	5