| 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 : |
Dr. Öğr. Üyesi ELİF BAŞ |
| Course Lecturer(s): |
Dr. Öğr. Üyesi ELİF BAŞ
Dr. Öğr. Üyesi HATİCE ÖVGÜ TÜZÜN
|
| Recommended Optional Program Components: |
None |
| Course Objectives: |
This course is a survey of the discipline of Film Studies, its methodologies, genres and histories. Through an examination of various cinematic forms, styles, and genres, roughly following a historical chronology, the course aims to develop the critical skills crucial to the discourse of Film Studies. |
| Week |
Subject |
Related Preparation |
| 1) |
Introduction to the course. Film terminology. |
|
| 2) |
Birth of the narrative form-
D.W. Griffith – Birth of a Nation 1915
|
Reading. |
| 3) |
Soviet Silent Cinema and the Theory of Montage
Eisenstein: Battleship Potemkin 1925 (scene: The Odessa Steps)
|
Reading. |
| 4) |
German Cinema of the Weimar Period
Robert Weine – Das Kabinet des Dr. Caligari 1920
|
Reading. |
| 5) |
Golden Age of Hollywood –
Charlie Chaplin Modern Times 1936
|
|
| 6) |
Classical Hollywood Cinema –
Casablanca 1942 |
|
| 7) |
A Major Figure of the Studio Era: Hitchcock
Alfred Hitchcock – The Birds 1963/or Psycho
|
|
| 8) |
Review and discussion. |
|
| 9) |
Italian neorealism - De Sica– The Bicycle Thieves 1948
|
Reading. |
| 10) |
La Dolce Vita - Federico Fellini |
Reading. |
| 11) |
1970’s era of cynicism: A nervous romance
Woody Allen – Annie Hall 1977
|
|
| 12) |
Midterm, 2nd essay. |
|
| 13) |
A German Horror: Das Experiment - Oliver Hirschbiegel 2001 |
|
| 14) |
Turkish cinema |
|
| 15) |
Final. |
|
| 16) |
Final. |
|
| |
Program Outcomes |
Level of Contribution |
| 1) |
They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). |
2 |
| 2) |
They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. |
2 |
| 3) |
They are aware of national and international values in performing arts. |
2 |
| 4) |
Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. |
1 |
| 5) |
They have the sensitivity to run a business successfully in their field. |
3 |
| 6) |
Develops the ability to perceive, think, design and implement multidimensional from local to universal. |
3 |
| 7) |
They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. |
2 |
| 8) |
They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. |
3 |
| 9) |
They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. |
1 |
| 10) |
They follow English language resources related to their field and can communicate with foreign colleagues in their field. |
1 |
| 11) |
By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. |
3 |
| 12) |
They can produce original works within the framework of an interdisciplinary understanding of art. |
2 |
| 13) |
Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. |
3 |
| 14) |
Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. |
2 |
| 15) |
They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. |
3 |
BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
