| 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 |
| FTV2949 | Popular Culture & 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: | Departmental Elective |
| Course Level: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi DENİZ GÜRGEN |
| Course Objectives: | The objective of this course is to discuss and identify cinema as a popular art form to entertain audiences worldwide in the context of media culture. The course aims to charactirize the significance of popular cinema through its association with the social dynamics of the society and its transformative power by addressing the theories of popular culture within the intertexual perspective of cultural studies. |
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The students who have succeeded in this course; 1) Comprehends the principal theories and characteristic discussions in the field of popular culture. 2) Be able to identify and discuss film in the context of popular culture within the practices of production and consumption. 3) Be able to discuss film genres in the context of popular culture. 4) Be able analyze the relationship of independent film production and art house cinema within the structures of popular culture. 5) Be able to discuss the relationship between historiography, popular culture and blocbuster cinema. 6) Be able to identify and evaluate popular cinema by following the paths of feminist criticism under the wider context of popular culture and gender studies. |
| In Popular Culture and Cinema course we'll discuss cinema as one of the most popular art forms to be involved in and shape the entertainment industry with recent examples from Hollywood and Cinema in Turkey. The concept of film genre will be analized with examples in national and international context. The examples of recent blockbuster productions in Hollywood and cinema in Turkey will be discussed in the context of feminist criticism and historiography. |
| Week | Subject | Related Preparation | |
| 1) | Introduction | ||
| 2) | Popular culture and Cinema | ||
| 3) | Film Genres: Action, Melodram, Horror | ||
| 4) | Hollywood Blockbuster in 2000's, Adaptations of Marvel & DC Comics | ||
| 5) | Popular Cinema and Feminist Criticism | ||
| 6) | Postfeminism and Recent Blockbuster film: The Strong Heroine. | ||
| 7) | Midterm Presentations | ||
| 8) | Historiography and Popular Cinema | ||
| 9) | Historiography and Popular Cinema: Representation of World War II in Hollywood | ||
| 10) | Popular Cinema in Turkey | ||
| 11) | Representation of Early Republican Period in recent Cinema of Turkey | ||
| 12) | "Out of the box" Integration of Independent cinema in Popular Culture | ||
| 13) | Final Presentations | ||
| 14) | Final Presentations & Review | ||
| Course Notes: | 1. Kellner, D. 2003. Media Culture: Identity and Politics Between Modern and Postmodern. Routledge. London & New York 2. Elsaesser, T. 2001. “The Blockbuster: Everything Connects, But Not Everything Goes.” In The End of Cinema as We Know It, edited by J. Lewis, 11–22. New York: New York University Press. 3.Stuart, H., 1973. Encoding and Decoding in Television Discourse. UK. University of Birmingham 4 .Gürgen Atalay, D. 2018. Historiography of World War II in Contemporary American Cinema. Newcastle upon Tyne: Cambridge Scholars Publishing 4. Douglass Kellner and Michael Ryan Camera Politica: The politics and Ideology of Contemporary Hollywood Film (1988). 5. Mulvey, Laura (1975) ‘Visual pleasure and narrative cinema’, Screen, vol. 16, no. 3, pp. 6–18. 6. Modleski, Tania (1991), Feminism without Women: Culture and Criticism in a ‘Postfeminist’ Age, London: Routledge. |
| References: | Gürgen, D., 2016. Interpreting Chronotope as a Historiographical Tool in Elevator to the Gallows in Consciousness, Theatre, Literature and Arts, edt. Dinkgrafe, D. M., Newcastle upon Tyne: Cambridge Scholars Publishing Hobsbawm, E., 2009. On History. London: Abacus. Laine, T., 2013. Feeling Cinema: Emotional Dynamics in Film Studies. New York: Bloomsbury Publishing. |
| 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 | % 0 | |
| Presentation | % 0 | |
| Project | % 0 | |
| Seminar | % 0 | |
| Midterms | 1 | % 45 |
| Preliminary Jury | % 0 | |
| Final | 1 | % 55 |
| Paper Submission | % 0 | |
| Jury | % 0 | |
| Bütünleme | % 0 | |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 45 | |
| PERCENTAGE OF FINAL WORK | % 55 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 13 | 3 | 39 |
| 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 | 6 | 78 |
| Presentations / Seminar | 2 | 5 | 10 |
| Project | 0 | 0 | 0 |
| Homework Assignments | 0 | 0 | 0 |
| Quizzes | 0 | 0 | 0 |
| Preliminary Jury | 0 | 0 | 0 |
| Midterms | 1 | 4 | 4 |
| Paper Submission | 0 | 0 | 0 |
| Jury | 0 | 0 | 0 |
| Final | 1 | 4 | 4 |
| Total Workload | 135 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |