PERFORMING ARTS
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
POV3214	History of Camera Images II	Spring Fall	3	0	3	5

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 :	Dr. Öğr. Üyesi TOLGA HEPDİNÇLER
Course Lecturer(s):	Assoc. Prof. LEWIS KEIR JOHNSON Dr. Öğr. Üyesi TOLGA HEPDİNÇLER
Recommended Optional Program Components:	None
Course Objectives:	This course is a continuation of POV3213 History of Camera Images I. It will thus continue with the aim of providing you with histories of photography, film and video that can inform and enable your development as critical practitioners.

Learning Outcomes

The students who have succeeded in this course;
I. Recognise varieties of explanation of shifts from modernist to postmodernist accounts of the significance of camera-images
II. Recognise and analyse different modes of filmic narrative across factual and fictional modes and in relation to different socio-political and cultural interests
III. Recognise different accounts of the emergence and purposes of video technologies
IV. Recognise different accounts of the significance of digitization in photography, film and video
V. Recognise different accounts of globalization and the roles of visual images in these accounts
VI. Develop a critical account of relations to the history of camera-images and to contemporary visual culture relevant to the student’s practice

Course Content

The course will consider ways in which the technical powers of images have been used by contemporary practitioners. It explores the ways in which different photographic and film practices are involved in different claims to truth and knowledge in the context of our actual socio-cultural topics of interest. It reviews the transformation of photography and video practices, especially in the contemporary era.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	Introduction: review of History of Camera-Images I and issues of modernism and postmodernism in relation to camera-images
2)	Assignment I	Working on the assignments.
3)	Post-war realities and fantasies in photographic work	Weekly readings will be assigned.
4)	Post-war realities and fantasies in filmic work: Hollywood and counter-cinemas	Weekly readings will be assigned.
5)	The emergence of video	Weekly readings will be assigned.
6)	Assignment II	Working on the assignments.
7)	Midterm; screening and discussion of filmic and video work in relation to uses of notion of postmodernism/the postmodern.	Weekly readings will be assigned.
8)	Camera-images and varieties of the postmodern in photography, film and video	Weekly readings will be assigned.
9)	Digitization in photography and photographic practices and genre	Weekly readings will be assigned.
10)	Digitization in film and film and video practices and genres	Weekly readings will be assigned.
11)	Globalization and transculture in camera-image practices	Weekly readings will be assigned.
12)	Assignment III	Working on the assignments.
13)	Current debates in photography, film and video	Weekly readings will be assigned.
14)	Presentation and discussion of visual essay assignments and revision	Working on the presentations.

Sources

Course Notes / Textbooks:	Mary Warner Marien, Photography: A Cultural History, 2nd edition, Laurence King, London, 2006; Ian Jeffrey, Revisions: An Alternative History of Photography, National Museum of Photography, Film and Television, Bradford, England, 1999; Geoffrey Batchen, Burning with Desire: The Conception of Photography, The MIT Press, 1999.
References:	Heilbrunn Timeline of Art History (Metropolitan Museum, NY): http://www.metmuseum.org/toah/hi/te_index.asp?s=all&t=all&d=photographs&x=21&y=15 Victoria and Albert Museum, Photography: http://www.vam.ac.uk/page/p/photography/

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Attendance	1	% 15
Homework Assignments	2	% 20
Midterms	1	% 25
Final	1	% 40
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 60
PERCENTAGE OF FINAL WORK		% 40
Total		% 100

ECTS / Workload Table

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	14	3	42
Study Hours Out of Class	14	5	70
Homework Assignments	2	5	10
Midterms	1	2	2
Final	1	2	2
Total Workload			126

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)	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