| MATHEMATICS (TURKISH, PHD) | |||||
| PhD | TR-NQF-HE: Level 8 | QF-EHEA: Third Cycle | EQF-LLL: Level 8 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| FTV3943 | Directing | Fall | 3 | 0 | 3 | 10 |
| The course opens with the approval of the Department at the beginning of each semester |
| Language of instruction: | En |
| Type of course: | Departmental Elective |
| Course Level: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
| Course Lecturer(s): |
Instructor MELİK SARAÇOĞLU Prof. Dr. HASAN KEMAL SUHER |
| Course Objectives: | Major concentration of this course is to lead students to understand and practice the profession of directing and its craft during narrative filmmaking process. All three phases of production (preproduction, production, post production) and directors practice as a craftsman during these processes is covered. The course also positions and describes the craft of directing in different types of production such as music videos, tv commercials, tv serials and feature films. Instead of a theoretical understanding of a director, the chief aim is to describe all the steps of filmmaking and “what director does” at all these steps in the light of film industry facts. |
|
The students who have succeeded in this course; 1.Gain the ability to collaborate with other craftsmen during filmmaking process ( editor, director of photographer, production designer, etc.…) and demonstrate full control on necessary knowledge and common film industry language in order to do this collaboration internationally 2. Will be able to recognize different approaches of storytelling constructed by masters of directing craft. 3. Demonstrate the ability to design mise-en-scene in order to communicate with emotion system. 4. Demonstrate the ability to conceptualize and visualize any kind of story in any kind of medium. 5. Gain the ability to produce visual dramatic approach to any kind of written script and shoot it with a style. 6. Illustrate the ability to transfer emotion systems into film from other art forms. 7. Recognize all aspects of visual story telling. |
| Major concentration of this course is to lead students to understand and practice the profession of directing and its craft during narrative filmmaking process. |
| Week | Subject | Related Preparation | |
| 1) | What is story and who is director as a storyteller? | ||
| 2) | Visual story telling tools used by the director. | ||
| 3) | Director’s approach to script, characters of the story, rhythm of the story, crucial elements of the story in order to shoot | ||
| 4) | Breaking-down a script and designing emotional rhythm. | ||
| 5) | Designing visual system and all components of it. Other art forms to collaborate. | ||
| 6) | Designing a shot with using graphic components in order to create dramatic tension. All considerations to make a coverage on a scene. | ||
| 7) | What is art? What is Craft?: Two masters of craft; Alfred Hitchcock and Ridley Scott. Society, culture and target audience. | ||
| 8) | Director’s preparations before story boarding, pre-visualizing, working with storyboards. Pre production. | ||
| 9) | Narrative use of light, camera and working with a director of photography. Comparison between film and digital. | ||
| 10) | All steps of casting process and working techniques with the actors. | ||
| 11) | Directing music videos. | ||
| 12) | Working with a producer. Budget, production team, limitations, timetable, responsibilities of a director. Ways to fail a production. | ||
| 13) | Introduction to advanced blocking. | ||
| 14) | Advanced staging with actors. | ||
| Course Notes: | |
| References: | 1. Full filmography of Alfred Hitchcock, Ridley Scott and Ingmar Bergman 2. Film Theory and Criticism (edited by Leo Braudy Marshall Cohen), 3. The Film Director (Richard L. Bare), 4. Film structure and Emotion System (greg m smith). 5. 5 C’s of cinematography (joseph v. marcelli), 6. Cinema and Painting (Angela Dalle Vaccabe ), 7. Passionate Views- Film cognition, and emotion (edited by Carl Plantinga and Greg M Smith), |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 10 |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 2 | % 20 |
| Presentation | 2 | % 20 |
| Project | 1 | % 20 |
| Seminar | % 0 | |
| Midterms | % 0 | |
| Preliminary Jury | % 0 | |
| Final | 1 | % 30 |
| Paper Submission | % 0 | |
| Jury | % 0 | |
| Bütünleme | % 0 | |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Laboratory | 0 | 0 | 0 |
| Application | 0 | 0 | 0 |
| Special Course Internship (Work Placement) | 0 | 0 | 0 |
| Field Work | 0 | 0 | 0 |
| Study Hours Out of Class | 13 | 12 | 156 |
| Presentations / Seminar | 2 | 3 | 6 |
| Project | 1 | 20 | 20 |
| Homework Assignments | 2 | 11 | 22 |
| Quizzes | 0 | 0 | 0 |
| Preliminary Jury | 0 | 0 | 0 |
| Midterms | 0 | 0 | 0 |
| Paper Submission | 0 | 0 | 0 |
| Jury | 0 | 0 | 0 |
| Final | 1 | 4 | 4 |
| Total Workload | 250 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |