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Week |
Subject |
Related Preparation |
1) |
-Birth of film medium, 19th century: the era: Popular culture, film history and cultural experience
-Emergence of cinema and its relation to industrial city and modernism
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Film Screening: A & A Huges, FROM HELL, 2001, USA, 122’ |
2) |
Early Cinema (1890s- 1910s) International Explorations: before the national industries; emergence of industry and institutionalization, construction of film form
Problematization of mode of film production and audience / spectator / historical audience and issues of public sphere
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Readings:
[B&T]: 441 –445.
[S&M]: 337- 344
Miriam Hansen, Babel & Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard U. P., 1991, pp: 1-19.
Film Screening: George Melford THE SHEIK, 1921, USA, 80’
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3) |
Nationalism, Imperialism and Modernism: National Cinemas,
Weimar Cinema: a national cinema. Film form and birth of formal systems: art, technology and “narration and nation”.
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Okumalar:
Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, Princeton, NJ: PUP 1974 5th (c: 1947) pp: 215-222.
Homi Bhabha (ed), “Introduction: Narrating the Nation” in Nation And Narration, NY: Rutledge 2002, pp: 1-7.
Film: Fritz Lang, M, 1931, Germany, 118’
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4) |
Representation, Ideology and Point of View: Film text, narrative and non-narrative story telling: Shot and mise-en scene and beyond. |
Okumalar:
[S]: 33-36
Jean Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus” in Philip Rosen (ed), Narrative, Apparatus, Ideology, NY: Columbia UP, 1986, pp: 286- 298
Jean Louis Commoli and Jean Narboni, “Cinema / Ideology/ Criticism” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp: 22-30.
Film: J. L. Godard, MASCULIN & FEMININ, 1966, France, 110’
Alain Resnais, HIROSHIMA MON AMOUR, 1959, France, 90’
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5) |
Real, Realism, Verisimilitude and Mimesis: What are the medium’s specificities? Questioning cinematographic properties. Challenging the look and the spectator and challenging the world: waves around the world. |
Readings:
[S&M]: 31- 38, 223-228 & 403- 408
[S]: 22 -32, 107- 130
Film Screening: Woody Allen, ZELIG, 1983, USA, 79’
Nicolas Roeg, INSIGNIFICANCE, 1985. UK / USA 120’
Hector Babenco, KISS OF THE SPIDER WOMAN/ O BEIJO DA MULHER ARANHA, 1985, Brazil / USA, 119’.
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6) |
Text, Intertext, Context: Culture of Empire vs. "Return of the Repressed" & the World of “Detouring” the "Others" |
Readings:
[S]: 185-192, 267- 280, & 292- 298
[S&M]: 145- 156 & 669- 696.
Z. Tül Akbal Süalp, "Yaban
lar, Ötekiler Sudaki Balıklar: Postmodern Koşullar mı, Postmodern Koşullanmalar mı?" Kültür ve Toplum 1 İst: Hil 1995, slr: 64-88.
Film Screening: Anthony Minghella, ENGLISH PATIENT, 1996 162’, USA/UK
Stephen Frears, SAMMY AND ROSIE GET LAID, 1987, UK, 97’.
Gillo Pontecorvo, LA BATTAGLIA DI ALGERI, 1966. Algeria / Italy, 123’
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7) |
Introduction to the theories of 20th Century: Modernism vs. Postmodernism
A search for new aesthetics and alternative modes of film-making: Non- narrative, absurd and political cinemas: Urban space and alternative looks, and appearances of avant-gardes.
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Readings:
S&M]: 257 – 264
[H&G]: 89- 93 & 94- 103
[S]: 55- 58, 130- 140, 153- 158.
Fernando Solonas and Octavio Getino, “Towards a Third Cinema” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp 44-64
Z. Tül Akbal Süalp, “Rüzgar dönüyordu bütün coğrafyalarda”, Cogito, Sa: 14, Bahar 1998, slr: 234 -252
Film Screening: Juan Carlos Tabio, WAITING LIST, 2000, Cuba, 102’
Jean-Luc Godard, NOTRE MUSIQUE/ OUR MUSIC, 2004, Switz/ France,
80’.
Derviş Zaim CENNETI BEKLERKEN /WAITING FOR THE HEAVEN , 2006,
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8) |
Ideology, Hegomony and Society: Representations of Class, Race, Gender and Ethnicity |
Reading:
“Encoding/Decoding” reading by Stuart Hall (CB)/ (MGD-DK) pp: 166- 176.
“Media culture, politics, and ideology From Reagan to Rambo”, Chapter 2, in Kellner, Media Culture, London & New York: Routledge, 1998 c: 1995 pp: 55-91
Film Screening: ONCE WERE WORRIORS (Lee Tamahori, , 1994, New Zealand, 99’)
Mathieu Kassovitz, LA HAINE / PROTESTO, 1995, France, 97’
Lucas Belvaux, THE RIGHT OF THE WEAKEST/ LA RAISON DU PLUS FAIBLE, 2006, Belgium / France, 116’
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9) |
An Ontology of television end everyday life experiences:
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Readings:
Morse, M., “An Ontology of Everyday Distraction: the Freeway, the Mall and the Television”,
(CB) / (PM) pp: 193- 221
Mellencamp, Patricia “TV Time and Catastrophe, or Beyond the Pleasure Principle of Television” (CB) / (PM) pp: 240- 266
Virilio, P., (1991), “The Overexposed City” in P Virilio, Lost Dimension (trns: D. Moskenberg), New York: Semiotext[e, pp: 9-27.
Film Screening: Peter Weir, TRUMAN SHOW, 1998, USA, 103’
Gary Ross, PLEASANTVILLE, 1998, USA, 124’
Ang Lee, THE ICE STORM, 1997, USA, 113’
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10) |
Cinema as an inner voyage: Perception, Signification, Cognition and Identification: Psychoanalysis Inner-film and Semiology |
Reading:
[H&G]: 49- 89
[S]: 158- 169, 248- 256
Film Screening: David Lynch, BLUE VELVET, 1986, USA, 120’
Michael Haneke, CACHÉ / HIDDEN (Eng. Translation title), 2005, Austria / Italy / Germany / France, 111’.
Pedro Almodovar, WOMEN ON THE VERGE of NERVOUS BREAKDOWN , 1988 Spain, 88’
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11) |
Marxist approaches, counter cinema, third cinema and political cinema |
H&G]: 104- 114
[S]: 281- 291
[S&M]: 539- 551
Film Screening: Ken Loach, RAINING STONES, 1993, UK, 90’
Fernando E. Solanas, THE DIGNITY OF THE NOBODIES , Argentina, 2005, 122’
Jia Zhang Ke, SAN XIA HAOREN/ STILL LIFE , China, 2006, 109’
Robert Guédiguian, THE TOWN IS QUIET/ LA VILLE EST TRANQUILLE, 2000, 143’
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12) |
Frankfurt School, Critical Theory and Cultural studies & Electronic Culture and Cyberspace: Exploring and revisiting modernism & postmodernism
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Readings:
[H&G]: 188- 199
[S]: 64- 72, 223-229 & 298- 314
[S&M]: 704- 714
Mark Poster, “Postmodern Virtualities” (CB)/ (MGD-DK) 611- 625.
Gülnur Savran, ‘Postmodernizm: Yepyeni Bir Evre mi, Bir Eğilimin Mutlaklaşması mı?’, Defter, Kış 1999, #:38.
J Baudrllard’s (CB)/ (MGD-DK) pp: 521 – 550.
Film Screening: David Cronenberg, VIDEODROME, 1982, Canada, 89’
Wolfgang Becker GOOD BYE LENIN!, 2002, 118’.
Radha Bharadwaj, CLOSET LAND , 1990, USA, 95’.
Tsai Ming-Liang, THE RIVER/ HE LIU, 1997, Taiwan, 115’.
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13) |
Gaze of Gender, Ideology and Identities and Feminist Criticism in Cinema & Television cultural and globalization: constructing manufacturing and representing race, gender and class, and global electronic culture
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Reading: Barker, Chris, Ch. 2 “Global television and Global Culture”: in (CB) / (CB) pp: 33-59,
Barker, Chris, Ch. 3 & 4 “The construction and representation of race and nation” &-- “Sexed subjects and gendered representation”, in (CB) / (CB), pp: 60- 107
Readings:
[H&G]: 115- 145
[S]: 169- 179
[S&M]: 475-494
Film Screening: Marleen Gorris ANTONIA’S LINE 1995 Netherlands, 102’
Zhang Yimou, RAISE THE RED LANTERN , 1991. China / Hong Kong / Taiwan, 125’
Moufida Tlatli, SAIMT EL QUSUR / LES SILENCES DU PALAIS/ THE SILENCES OF THE PALACE, 1994 Tunisia / France 128’.
Ferzan Özpetek CAHIL PERILER, 2001, Italy, 105’
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14) |
General Review and presentations |
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Course Notes: |
Temel Okuma Kitapları:
David Bordwell & Kristin Thompson, Film Art: An Introduction, New York: Mc Graw-Hill Inc., 1996 5th ed. [B&T]
R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000 [S&M]
R. Stam, Film Theory: An Introduction, Oxford: Blackwell, 2000 [S]
J Hill & P C Gibson, Film Studies Critical Approaches, Oxford: Oxford University Press, 2000 [H&G]
Ek okumalar:
Jean Louis Baudry, “Ideological Effects of the Basic Cinematographic Apparatus” in Philip Rosen (ed), Narrative, Apparatus, Ideology, NY: Columbia UP, 1986, pp: 286- 298.
Homi Bhabha (ed), “Introduction: Narrating the Nation” in Nation And Narration, NY: Rutledge 2002, pp: 1-7.
Miriam Hansen, Babel & Babylon: Spectatorship in American Silent Film, Cambridge, MA: Harvard U. P., 1991
Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film, Princeton, NJ: PUP 1974 5th (©:1947)
T. Miller, “Introduction: Apparatus Theory”, in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 403- 408.
Jean Louis Commoli and Jean Narboni, “Cinema / Ideology/ Criticism” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp:22-30.
Ella Shohat, “Gender and Culture of Empire: Twatds feminist Ethnography of the Cinema in in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 669- 696.
Fernando Solonas and Octavio Getino, “Towards a Third Cinema” in Bill Nichols (ed), Movies and Methods I, Berkeley: UCP, 1976, pp
R. Stam & T. Miller, “Introduction: The Image and Technology” for Part III in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 85- 101.
Robert Stam, “introduction: Alternative Aesthetics” for part VI in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 257 – 264.
--------, “Introduction: Text and Intertext” in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 145-156
--------, “Introduction: Question of Realism”, in R. Stam & T. Miller, Film and Theory: An Anthology, Oxford: Blackwell, 2000, pp: 223-228.
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References: |
Z. Tül Akbal Süalp, "Yabanlar, Ötekiler Sudaki Balıklar: Postmodern Koşullar mı, Postmodern Koşullanmalar mı?" Kültür ve Toplum 1 İst: Hil 1995, slr:64-88.
Z. Tül Akbal Süalp, “Rüzgar dönüyordu bütün coğrafyalarda”, Cogito, Sa: 14, Bahar 1998, slr: 234 –252
“ Marksizm ve Sinema: Hacimde İlmek Atmak” Der: Murat İri Sinema Araştırmaları: Kuramlar Kavramlar Yaklaşımlar İST: Derin Yay 2010 |