FILM AND TELEVISION | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
FTV2915 | History of Cinema | Fall | 3 | 0 | 3 | 5 |
The course opens with the approval of the Department at the beginning of each semester |
Language of instruction: | En |
Type of course: | Must Course |
Course Level: | Bachelor |
Mode of Delivery: | Face to face |
Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
Course Lecturer(s): |
Prof. Dr. OSMAN KAYA ÖZKARACALAR Prof. Dr. NİLAY ULUSOY |
Course Objectives: | This course aims to discuss the fundamental periods, movements and discussions in the history of cinema through important films and directors and to understand today's cinema through the history of cinema. |
The students who have succeeded in this course; 1. Will be able to define the general history of World cinema 2. Will be able to define the major movements and periods in Cinema History 3. Will be able to discuss the basic debates and themes about Cinema History 4. Will be able to discuss the major films and filmmakers within a historical and artistic context 5. Will be able to apply their knowledge about cinema history to the analysis of newly produced films |
This course introduces students to the history of film and its social and cultural impacts; considers key theoretical issues in the examination of film histories, and perspectives, traditions and methods in the historiography of film. Through case studies and analysis of key texts and films, it highlights the role of film in modernity and its transformations, and introduces students to the use of a wide range of archival and research materials used in the documentation of film history. |
Week | Subject | Related Preparation | |
1) | Introduction& Moving Image Before Cinema | - | |
2) | Origins and International Expansion, 1907-1918 | Screening Documentarys from Lumieres Bro. “The Great Train Robbery” E.S. Porter | |
3) | D.W. Griffith and the Development of Narrative Form; | Screening “The Birth of a Nation” | |
4) | Soviet Silent Cinema and the Theory of Montage, 1917-1931: | Screening “Battleship Potemkin” | |
5) | German Cinema of the Weimar Period, 1919-1929; Europe in the Thirties | Screening “The Cabinet of Dr. Caligari” | |
6) | The Poetic Realism; European Cinema Before the World War II | Screening “Atalante” | |
7) | The American Studio System; Hollywood Genres | Screening “Rear Window” | |
8) | Hollywood Invasion at Europe Postwar Cinema: Italian Neo-Realismo | Screening “ShoeShine” | |
9) | French new wave and its narrative context | Screening "Breathless" | |
10) | The British Free Cinema-New Cinema in Britain | Weekend screening “Saturday Night Sunday Morning” | |
11) | European Renaissance, New German Cinema | Screening “Der Himmel Über Berlin” | |
12) | New Hollywood 1965-... | Screening “Bonnie and Clyde” | |
13) | Third Cinema | Screening “Kurz und Schmerzlos” | |
14) | East Asian Cinema | Screening Crouching Tiger Hidden Dragon |
Course Notes: | |
References: | 1. Thompson, Kristin and David Bordwell. Film History an Introduction, McGraw-Hill, 2002. 2. Cook, David A. A History of Narrative Film. 4th Ed. New York and London: W.W. Norton and Company, 2004. 3. Cook, Pam. The Cinema Book, 3. Ed. London: BFI Publishing, 2008. |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 0 | % 0 |
Laboratory | 0 | % 0 |
Application | 0 | % 0 |
Field Work | 0 | % 0 |
Special Course Internship (Work Placement) | 0 | % 0 |
Quizzes | 0 | % 0 |
Homework Assignments | 2 | % 10 |
Presentation | % 0 | |
Project | 0 | % 0 |
Seminar | 0 | % 0 |
Midterms | 1 | % 40 |
Preliminary Jury | % 0 | |
Final | 1 | % 50 |
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 | Workload | |
Course Hours | 14 | 42 | |
Laboratory | |||
Application | |||
Special Course Internship (Work Placement) | |||
Field Work | |||
Study Hours Out of Class | 11 | 55 | |
Presentations / Seminar | |||
Project | |||
Homework Assignments | 2 | 20 | |
Quizzes | |||
Preliminary Jury | |||
Midterms | 1 | 4 | |
Paper Submission | |||
Jury | |||
Final | 1 | 4 | |
Total Workload | 125 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
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 | 5 |
2) | Having comprehensive knowledge regarding different media and branches of art | 5 |
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 | 5 |
4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 5 |
5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 5 |
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 | 2 |
8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | 2 |
9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | 2 |
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 | 2 |
12) | Having ethical values and a sense of social responsibility | 5 |