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Week |
Subject |
Related Preparation |
1) |
Introduction to the course
Film and Fashion, they are just friends |
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2) |
A Brief History of Cinema
Movements, periods and industry |
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3) |
A Brief History of Turkish Cinema
Periods, Popular Genres and INdustry |
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4) |
History and Sociology of Clothing: Some Methodological Observations
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Barthes, Roland. Language of Fashion, London N.Y. Berg, 2005. pp. 3-33. |
5) |
Fashion as communication
Social Life as a Sign System
Do clothes speak? what makes them fashion?
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Barnard, Malcom, "Fashion Statements: Communication and Culture", Fashion Theory A Reader, Routledge, 2007. |
6) |
Fashion Fetish and tHe erotic
The ideological genesis of needs
Female Fetishism
The enchanting spectacle of the code |
Steele, Valerie. "fashion and Fetishism", Fashion Theory A Reader, Routledge, 2007, pp. 576-585. |
7) |
Fashion and Modernity
Fashion and the image
Fashion Photography |
Barthes, Roland. "fashion photography", Fashion Theory A Reader, Routledge, 2007. |
8) |
Clothe as a narrativity form in relation with stardom |
Stutesman, Drake, "Storytelling: Marlene Dietrich's Face and John Frederics Hats", Fashioning Film Stars, BFI:2005. |
9) |
Cinema and Haute Couture |
Moseley, Rachel. "Dress, Class, and Audrey Hepburn: THe Significance of the Cindrella Story", Fashioning Film Stars: Dress, Culture ıdentity, London: BFI, 2005, pp.109-120 |
10) |
Kıyafet Güç ve Modern Ölümcül Dişi |
Single White Female, Dir. Barbet Shoeder, 1992. |
11) |
Rough and The Smooth: Male Costuming in Contemporary Hollywood Cinema
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Ocean's 11 Stephen Soderberg (2001) |
12) |
the dynamics of cross cultural representations
(A Specific Case Ferzan Özpetek's Harem Suare (1999), Magnifica Presenza (2012). |
Harem Suare (1999), Magnifica Presenza (2012). |
13) |
The Business and art of creating costumes for film and tv |
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14) |
film screening: Fashion Adventure of Turkey
Dir. Enis Rıza, Bahriye K. Dal 2011
Conversation: Bahriye K. Dal
Gülhan D. Varank (executive productor) |
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Course Notes: |
selected readings from this books below:
Fashion in Film: Adrienne Munich, Indiana University Press: 2011
Fashion Theory: A Reader, Malcom Barnard: Routledge, 2007
Undressing Cinema: Clothing and Identities in the Movies, Stella Bruzzi: Routledge, 1997.
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References: |
1. Barthes, Roland, The Language of Fashion (Oxford: Berg, 2004.
2. Bruzzi, Stella och Pamela Church Gibson (red), Fashion Cultures: Theories, Explorations and Analysis (London:Taylor & Francis 2000)
3. Barnard, Malcom (eds) Fashion Theory A Reader London, N.Y., Routledge, 2007.
4. Bruzzi, Stella, Undressing Cinema: Clothing and Identity in the Movies (London/New York: Routledge,1997)
5. Moseley, Rachel, Fashioning Film Stars: Dress, Culture, Identity (London: BFI, 2005)
6. Steele, Valerie (eds) Fashion Theory, The Journal of Dress, Body and Culture, Vol 6, Issue 4, December 2002. |
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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 |
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2) |
Having comprehensive knowledge regarding different media and branches of art |
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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 |
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4) |
Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey |
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5) |
Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product |
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6) |
Being able to write a script ready to be shot |
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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 |
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8) |
Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations |
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9) |
Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages |
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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 |
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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 |
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12) |
Having ethical values and a sense of social responsibility |
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