| 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 |
| FTV2929 | Non-Fiction Film and TV | Fall | 2 | 2 | 3 | 5 |
| 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 Objectives: | The course introduces the variety and possibility of non-fiction video productions. Students will broaden and widen the perspective in the video creation. It will introduce all essential stages of producing a non-fiction from generate idea, pre-production, production, and post-production. |
|
The students who have succeeded in this course; 1) Will be able to analyze and understand the basic elements of story structure. 2) Will understand the key aspects of constructing non-fiction narratives and the following terms: narrative voice, point of view, theme, arc, and temporality. 3) Will be able to know what makes a good character and how the character functions in relation to narrative. 4) Will be able to evaluate the basic artistic and formal elements that go into the making of non-fiction films. |
| This course addresses nonfiction media as both art form and historical practice by exploring the expressive, rhetorical, and political possibilities of nonfiction production. A focus on relationships between form and content and between makers, subjects, and viewers will inform our approach. |
| Week | Subject | Related Preparation | |
| 1) | Storytelling in Moving Images | David Bordwell, “Three Dimensions of Film Narrative” | |
| 2) | Character | Murray Smith, “Engaging Characters” Bordwell, “Nuance & Niceties” and "Function of Film Sound: The Prestige" | |
| 3) | Focalization & Point of View | Chatman, “New Point of View” Jan Simons, “Complex Narratives” Thomas Elsaesser, “The Mind-Game Film” | |
| 4) | Authorship & Narrators | Michel Foucault, “What is an Author?” | |
| 5) | Classical vs. Art-Cinema Narration | Eleftheria Thanouli, “'Art Cinema' Narration” | |
| 6) | Cinema of Attraction | ||
| 7) | Experimental Film | ||
| 8) | Documentary Film | ||
| 9) | Television & Serial Form | ||
| 10) | Finding the Story and Story Structure | ||
| 11) | Constructing/Editing the Story | ||
| 12) | Flashback&Flashforward | ||
| 13) | Crime Genre | ||
| 14) | Thinking non-narratively and creative | ||
| Course Notes: | David Bordwell, Narration in the Fiction Film (University of Wisconsin Press, 1985) Jason Mittell, Complex TV: The Poetics of Contemporary Television Storytelling (NYU Press, 2015) |
| References: |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | % 0 | |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 5 | % 20 |
| Presentation | 2 | % 10 |
| Project | % 0 | |
| Seminar | % 0 | |
| Midterms | 1 | % 30 |
| Preliminary Jury | % 0 | |
| Final | 1 | % 40 |
| Paper Submission | % 0 | |
| Jury | % 0 | |
| Bütünleme | % 0 | |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| 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 | 14 | 51 | |
| Presentations / Seminar | 2 | 6 | |
| Project | |||
| Homework Assignments | 5 | 20 | |
| Quizzes | |||
| Preliminary Jury | |||
| Midterms | 1 | 3 | |
| Paper Submission | |||
| Jury | |||
| Final | 1 | 3 | |
| Total Workload | 125 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |