Week |
Subject |
Related Preparation |
1) |
Mainstream Issues in Video Production |
|
2) |
Effects of Technology and change in video media. |
Weekly readings will be assigned. |
3) |
Issues of Video-Art I: Body (Femininity) |
Weekly readings will be assigned. |
4) |
Issues of Video-Art II: Body (Masculinity, Homosexuality) |
Weekly readings will be assigned. |
5) |
Issues of Video-Art III: Identity (Class. Ethnicity. Race) |
Assignmet 1 |
6) |
Review for midterm exam |
Weekly readings will be assigned. |
7) |
Issues of Video Art IV: Self (Amateurism, Video Confession) |
Assignmet 2 |
8) |
Video Art on Television |
Weekly readings will be assigned. |
9) |
Video Art on Digital Age and Interactivity |
Weekly readings will be assigned. |
10) |
Issues of Video Art: Reconstruction of the past (Found Footages, Appropriation and their ethical issues) |
Assignment 3 |
11) |
Video out of Screen: Video Intallations and Video Sculpture |
Weekly readings will be assigned. |
12) |
Ideas for Final Projects |
Weekly readings will be assigned. |
13) |
Preparation for Final Projects |
Working on the final project. |
14) |
Assessment for final projects |
Working on the final project. |
Course Notes / Textbooks: |
1. Elwes, C. (2005). Video art a guided tour. London New York London New York: I.B. Tauris In Association with University of the Arts In the United States of America and in Canada distributed by Palgrave Macmillan.
2. Fifer, S. & Hall, D. (1990). Illuminating video : an essential guide to video art. New York, N.Y: Aperture in association with the Bay Area Video Coalition. |
References: |
1. Rees, A. (1999). A history of experimental film and video : from canonical avant-garde to contemporary British practice. London: BFI Publishing.
2. Renov, M. & Suderburg, E. (1996). Resolutions : contemporary video practices. Minneapolis, Minn: University of Minnesota Press.
|
|
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 |