| 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 |
| FTV5014 | Turkish Cinema | Fall | 3 | 0 | 3 | 7 |
| 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 GÖNÜL EDA ÖZGÜL |
| Course Lecturer(s): |
Dr. Öğr. Üyesi GÖNÜL EDA ÖZGÜL |
| Course Objectives: | Since its invention in the late 19th century, cinema has been a significant part of culture, society, and politics in Turkey. This class will cover the history of cinema in Turkey. To this end, we will start with the earliest film exhibitions in Istanbul and other cities. We will talk about the relevancy of traditional theater and other arts in the production of cinema in Turkey especially in the first half of the 20th century. Then, we will deal with “Yeşilçam” as the dominant mode of filmic production, exhibition, and distribution in Turkey from 1950s to 1980s. In the last part of the class, we will talk about the “new cinema” in Turkey which has become the dominant form of filmic practice in Turkey since the 1990s. |
|
The students who have succeeded in this course; I. To introduce students to history of cinema in Turkey II. To introduce students to significant filmmakers and films from Turkey III. To overview stages of the history of cinema in Turkey, including pre-Yeşilçam, Yeşilçam, and post-Yeşilçam IV. To introduce students to the connections between cinema and visual and performative traditions V. To introduce issues in the cinema of Turkey including stars, gender, political cinema, religion, and migration VI. To analyze film criticism and studies texts on the cinema of Turkey VII. To introduce how Turkey’s cinematic tradition is informed by other cinemas VIII. To underline the relationship between socioeconomic and political changes and those in cinema |
| 1 Overviewing Cinema in Turkey 2 Origins of Cinema and Early Exhibitions in Turkey 3 Effects of Other Cinemas 4 Theater and Politics Before Yeşilçam 5 Yeşilçam I 6 Yeşilçam II 7 Stars of Yeşilçam 8 Politicizing Yeşilçam 9 Islam and Late Yeşilçam 10 More Yeşilçam 11 New Cinema of Turkey I 12 New Cinema of Turkey II 13 Migrant and Diasporic Films I 14 Migrant and Diasporic Films II |
| Week | Subject | Related Preparation | |
| 1) | Overviewing Cinema in Turkey | Dorsay, Atilla. “An Overview of Turkish Cinema from Its Origins to the Present Day” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 21-33. [Published before in Günsel Renda and C. Max Kortepeter The Transformation of Turkish Culture. Princeton: Princeton University of Press, 1986.] Erdoğan, Nezih and Deniz Göktürk. “Turkish Cinema” in Oliver Leeman ed. Companion Encyclopedia of Middle Eastern and North African Film. London and New York: Routledge, 2001. pp. 533-573. Kaplan, Yusuf. “Turkish Cinema” in Geoffrey Nowell-Smith eds. The Oxford History of World Cinema. Oxford: Oxford University Press, 1996. pp. 657-678. İlal, Ersan. “On Turkish Cinema” in John D.H. Downing ed. Film and Politics in the Third World. Brooklyn: Autonomedia, 1987. 119-129. [New York: Preager.] | |
| 2) | Early Cinema in Turkey, Origins of Cinema and Early Exhibitions in Turkey | Arslan, Savaş. Pre-Yeşilçam: Cinema in Turkey until the Late 1940s. pp.23-62. Mutlu, Dilek Kaya. “The Russian Monument at Ayastefanos.” Middle Eastern Studies 43:1 (January 2007): 75-86. Özen, Mustafa. “Hareketli Resimler İstanbul’da, 1896-1908.” Unpublished paper. 2006. Özen, Mustafa. “Fransız Pathé Frères İstanbul’da, 1908-1914” in Deniz Bayrakdar ed. Türk Film Araştırmalarında Yeni Yönelimler 5. İstanbul: Bağlam, 2006. 57-64. | |
| 3) | Effects of Other Cinemas | Arslan, Savaş. Early Yeşilçam: The Advent of Yeşilçam in the 1950s. pp. 63-96. Erdoğan, Nezih. “The Making of Our America: Hollywood in a Turkish Context” in Melvyn Stokes and Richard Maltby eds. Hollywood Abroad: Audiences and Cultural Exchange. London: BFI, 2005. pp. 121-131. Gürata, Ahmet. “Egyptian Cinema in Turkey, 1938-1950” 2005. Gürata, Ahmet. “Translation and Reception of Indian Cinema in Turkey: Awara.” 2006. Suner, Asuman. “Indian Cinemas Global Reach: Historiography through Testimonies.” South Asian Popular Culture 4:2 (October 2006). | |
| 4) | Theater and Politics Before Yeşilçam | Erdoğan, Nezih and Dilek Kaya. “Institutional Intervention in the Distribution and Exhibition of Hollywood Films in Turkey.” Historical Journal of Film and Television 22:1 (2002): 47-59. Halman, Talat Sait. “Introduction” in Talat Sait Halman ed. Modern Turkish Drama. Minneapolis: Bibliotheca Islamic, 1983. Hellier, Chris. “Turkey: Two Steps Forward, One Back” in Ruth Petrie ed. Film and Censorship: The Index Reader. London and Washington: Cassell, 1997. pp. 123-128. Öztürk, Serdar. “Karagöz Co-opted: Turkish Shadow Theater of the Early Republic, 1923-1945.” Asian Theater Journal 23:2 (Fall 2006): 292-313. | |
| 5) | Yeşilçam I-Early and High Yeşilçam | Cinema” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 1-9. Arslan, Savaş. High Yeşilçam I: Industry and Dubbing. pp.97-124. Cullingworth, Michael. “On a First Viewing of Turkish Cinema” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. 11-18. Erdoğan, Nezih. “Mute Bodies, Disembodied Voices: Notes on Sound in Turkish Popular Cinema.” Screen 43:2 (Autumn 2002): 233-249. | |
| 6) | Yeşilçam II--High Yeşilçam | Arslan, Savaş. High Yeşilçam II: Genres and Films. pp. 125-138. Erdoğan, Nezih. “Narratives of Resistance: National Identity and Ambivalence in Turkish Melodrama between 1965 and 1975.” Screen 39:3 (Autumn 1998): 259-271. Gürata, Ahmet. “Translating Modernity: Remakes in Turkish Cinema.” 2006. Kılıçbay, Barış and Emine Onaran İncirlioğlu. “Interrupted Happiness: Class Boundaries and ‘the Impossible Love’ in Turkish Melodrama.” Ephemera: Critical Dialogues in Organization 3:3 (2003): 236-249. | |
| 7) | Stars of Yeşilçam | Büker, Seçil. “The Film Does not End with Ecstatic Kiss” in Deniz Kandiyoti and Ayşe Saktanber eds. Fragments of Culture: The Everyday of Modern Turkey. London and New York: I.B. Tauris and Co Publishers, 2002. pp. 147-170. [Also from New Brunswick, NJ: Rutgers University Press, 2002] Özgüven, Fatih. “Male and Female in Yeşilçam: Archetypes Endorsed by Mutual Agreement of Audıence and Player” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 35-41. Sarıkartal, Çetin. “Voice of Contraction: Melodrama, Star System, and a Turkish Female Star’s Excessive Response to the Patriarchal Order.” Performance Research 8:1 (2003): 83-93. | |
| 8) | Politicizing Yeşilçam | Armes, Roy. “Yılmaz Güney” in John Downing ed. Third World Filmmaking and the West. New York: Praeger, 1987. pp. 119-129. Giles, D. and H. Şahin. “Revolutionary Cinema in Turkey.” Jump Cut 27 (1982): 35-37. Nafıcy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton, NJ: University of Princeton Press, 2001. [“Homeland as Prison, Close-up: Yılmaz Güney” pp.181-187] Suner, Asuman. “Speaking the Experience of Political Oppression with a Masculine Voice: Making Feminist Sense of Yılmaz Güney’s Yol.” Social Identities 4:2 (June 1998): 283-300. Suner, Asuman. “Outside in: ‘Accented Cinema’ at Large.” Inter-Asia Cultural Studies 7:3 (2006): 363-382. | |
| 9) | Islam and Late Yeşilçam | Arslan, Savaş. “Projecting a Bridge for Youth: Islamic ‘Enlightenment’ versus Westernization in Turkish Cinema” in Timothy Shary and Alexandra Seibel eds. Youth Culture in Global Cinema. Austin: University of Texas Press, 2007. 157-172. Saktanber, Ayşe. “’We Pray Like You Have Fun’: New Islamic Youth in Turkey between Intellectualism and Popular Culture” in Deniz Kandiyoti and Ayşe Saktanber eds. Fragments of Culture: The Everyday of Modern Turkey. London and New York: I.B. Tauris and Co Publishers, 2002. pp. 254-276. Şen, Abdurrahman. “Beyaz Sinema.” Unpublished Paper. | |
| 10) | Late Yeşilçam | Arslan, Savaş. Late Yeşilçam: Melting in the 1980s. pp. 201-236. Erdoğan, Nezih. “Violent Images: Hybridity and Excess in The Man Who Saved the World” in Karen Ross, Deniz Derman, and Nevena Daković eds. Mediated Identities. Istanbul: Istanbul Bilgi University Press, 2001. pp. 115-129. Özkaracalar, Kaya. “Between Appropriation and Innovation: Turkish Horror Cinema” in Steven Jay Schneider ed. Fear Without Frontiers: Horror Cinema Across the Globe. London: FAB Press, 2003. Tombs, Pete and Giovanni Scognamillo. “Dracula in Istanbul: Turkey” in Peter Tombs ed. Mondo Macabro: Weird and Wonderful Cinema around the World. New York: St. Martin’s Griffin, 1997. pp. 102-115. | |
| 11) | New Cinema of Turkey I | Arslan, Savaş. Postmortem for Yeşilçam: Post-Yeşilçam, or the New Cinema of Turkey. pp. 237-273. Robins, Kevin and Asu Aksoy. “Deep Nation: The National Question and Turkish Cinema Culture” in Mette Hjort and Scott MacKenzie eds. Cinema and Nation. London and New York: Routledge, 2000. pp. 203-221. Simpson, Catherine. “Turkish Cinema’s Resurgence: The ‘Deep Nation’ Unravels.” Senses of Cinema 6:39 (April-June 2006). Available online at http://www.sensesofcinema.com/contents/06/39/turkish_cinema.html. Suner, Asuman. “Nostalgia for an Imaginary Home: Memory, Space, and Identity in the New Turkish Cinema.” New Perspectives on Turkey 27 (Fall 2002): 61-76. Suner, Asuman. “Horror of a Different Kind: Dissonant Voices of the New Turkish Cinema” Screen 45:4 (Winter 2004): 305-323. | |
| 12) | New Cinema of Turkey II | Fenner, Angelica. “Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin’s Berlin in Berlin.” Camera Obscura 44:15:2 (2000): 104-149. Karanfil, Gökçen. “Becoming Undone: Contesting Nationalisms in Contemporary Turkish Cinema.” National Identities 8:1 (March 2006): 61-75. Loshitzky, Josefa. “Journeys Hope to Fortress Europe.” Third Text 20:6 (November 2006): 745-754. Sippl, Diane. “Ceylan and Company: Autobiographical Trajectories of Cinema.” Cineaction 67 (22 June 2005): 44-57. | |
| 13) | Migrant and Diasporic Films I, Transnational Cinema | Elsaesser, Thomas. “Double Occupancy: Space, Place, and Identity in the European Cinema of the 1990s.” Third Text 20:6 (November 2006): 647-658. Göktürk, Deniz. "Turkish Delight - German Fright: Migrant Identities in Transnational Cinema" in Deniz Derman, Karen Ross, and Nevena Dakovic eds. Mediated Identities. Istanbul: Istanbul Bilgi University Press, 2001. pp. 131-149. Mennel, Barbara. “Bruce Lee in Kreuzberg and Scarface in Altona: Transnational Auteurism and Ghettocentrism in Thomas Arslan's Brothers and Sisters and Faith Akin's Short Sharp Shock.” New German Critique 87 (Autumn 2002): 133-156. | |
| 14) | Transnational Cinema | Ferzan Özpetek’s Films.” New Cinemas: Journal of Contemporary Film 2:3 (2004): 163-174. Clark, Christopher. “Transculturation, Transe Sexuality, and Turkish Germany: Kutluğ Ataman’s Lola und Bilidikid.” German Life and Letters 59:4 (October 2006): 555-572. Duncan, Derek. “Stairway to Heaven: Ferzan Özpetek and the Revision of Italy.” New Cinemas: Journal of Contemporary Film 3:2 (2005): 101-113. Gallagher, Jessica. “The Limitation of Urban Space in Thomas Arslan’s Berlin Trilogy.” Seminar 42:3 (September 2006): 337-352. | |
| Course Notes: | Dorsay, Atilla. “An Overview of Turkish Cinema from Its Origins to the Present Day” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 21-33. [Published before in Günsel Renda and C. Max Kortepeter The Transformation of Turkish Culture. Princeton: Princeton University of Press, 1986.] Erdoğan, Nezih and Deniz Göktürk. “Turkish Cinema” in Oliver Leeman ed. Companion Encyclopedia of Middle Eastern and North African Film. London and New York: Routledge, 2001. pp. 533-573. Kaplan, Yusuf. “Turkish Cinema” in Geoffrey Nowell-Smith eds. The Oxford History of World Cinema. Oxford: Oxford University Press, 1996. pp. 657-678. İlal, Ersan. “On Turkish Cinema” in John D.H. Downing ed. Film and Politics in the Third World. Brooklyn: Autonomedia, 1987. 119-129. [New York: Preager.] Arslan, Savaş. Pre-Yeşilçam: Cinema in Turkey until the Late 1940s. pp.23-62. Mutlu, Dilek Kaya. “The Russian Monument at Ayastefanos.” Middle Eastern Studies 43:1 (January 2007): 75-86. Özen, Mustafa. “Hareketli Resimler İstanbul’da, 1896-1908.” Unpublished paper. 2006. Özen, Mustafa. “Fransız Pathé Frères İstanbul’da, 1908-1914” in Deniz Bayrakdar ed. Türk Film Araştırmalarında Yeni Yönelimler 5. İstanbul: Bağlam, 2006. 57-64. Arslan, Savaş. Early Yeşilçam: The Advent of Yeşilçam in the 1950s. pp. 63-96. Erdoğan, Nezih. “The Making of Our America: Hollywood in a Turkish Context” in Melvyn Stokes and Richard Maltby eds. Hollywood Abroad: Audiences and Cultural Exchange. London: BFI, 2005. pp. 121-131. Gürata, Ahmet. “Egyptian Cinema in Turkey, 1938-1950” 2005. Gürata, Ahmet. “Translation and Reception of Indian Cinema in Turkey: Awara.” 2006. Suner, Asuman. “Indian Cinemas Global Reach: Historiography through Testimonies.” South Asian Popular Culture 4:2 (October 2006). Erdoğan, Nezih and Dilek Kaya. “Institutional Intervention in the Distribution and Exhibition of Hollywood Films in Turkey.” Historical Journal of Film and Television 22:1 (2002): 47-59. Halman, Talat Sait. “Introduction” in Talat Sait Halman ed. Modern Turkish Drama. Minneapolis: Bibliotheca Islamic, 1983. Hellier, Chris. “Turkey: Two Steps Forward, One Back” in Ruth Petrie ed. Film and Censorship: The Index Reader. London and Washington: Cassell, 1997. pp. 123-128. Öztürk, Serdar. “Karagöz Co-opted: Turkish Shadow Theater of the Early Republic, 1923-1945.” Asian Theater Journal 23:2 (Fall 2006): 292-313. Armes, Roy. “Twelve Propositions on the Inaccessibility of Third World Cinema” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 1-9. Arslan, Savaş. High Yeşilçam I: Industry and Dubbing. pp.97-124. Cullingworth, Michael. “On a First Viewing of Turkish Cinema” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. 11-18. Erdoğan, Nezih. “Mute Bodies, Disembodied Voices: Notes on Sound in Turkish Popular Cinema.” Screen 43:2 (Autumn 2002): 233-249. Arslan, Savaş. High Yeşilçam II: Genres and Films. pp. 125-138. Erdoğan, Nezih. “Narratives of Resistance: National Identity and Ambivalence in Turkish Melodrama between 1965 and 1975.” Screen 39:3 (Autumn 1998): 259-271. Gürata, Ahmet. “Translating Modernity: Remakes in Turkish Cinema.” 2006. Kılıçbay, Barış and Emine Onaran İncirlioğlu. “Interrupted Happiness: Class Boundaries and ‘the Impossible Love’ in Turkish Melodrama.” Ephemera: Critical Dialogues in Organization 3:3 (2003): 236-249. Büker, Seçil. “The Film Does not End with Ecstatic Kiss” in Deniz Kandiyoti and Ayşe Saktanber eds. Fragments of Culture: The Everyday of Modern Turkey. London and New York: I.B. Tauris and Co Publishers, 2002. pp. 147-170. [Also from New Brunswick, NJ: Rutgers University Press, 2002] Özgüven, Fatih. “Male and Female in Yeşilçam: Archetypes Endorsed by Mutual Agreement of Audıence and Player” in Christine Woodhead ed. Turkish Cinema: An Introduction. London: University of London SOAS Turkish Area Study Group Publications, 1989. pp. 35-41. Sarıkartal, Çetin. “Voice of Contraction: Melodrama, Star System, and a Turkish Female Star’s Excessive Response to the Patriarchal Order.” Performance Research 8:1 (2003): 83-93. Armes, Roy. “Yılmaz Güney” in John Downing ed. Third World Filmmaking and the West. New York: Praeger, 1987. pp. 119-129. Giles, D. and H. Şahin. “Revolutionary Cinema in Turkey.” Jump Cut 27 (1982): 35-37. Nafıcy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. Princeton, NJ: University of Princeton Press, 2001. [“Homeland as Prison, Close-up: Yılmaz Güney” pp.181-187] Suner, Asuman. “Speaking the Experience of Political Oppression with a Masculine Voice: Making Feminist Sense of Yılmaz Güney’s Yol.” Social Identities 4:2 (June 1998): 283-300. Suner, Asuman. “Outside in: ‘Accented Cinema’ at Large.” Inter-Asia Cultural Studies 7:3 (2006): 363-382. Arslan, Savaş. “Projecting a Bridge for Youth: Islamic ‘Enlightenment’ versus Westernization in Turkish Cinema” in Timothy Shary and Alexandra Seibel eds. Youth Culture in Global Cinema. Austin: University of Texas Press, 2007. 157-172. Saktanber, Ayşe. “’We Pray Like You Have Fun’: New Islamic Youth in Turkey between Intellectualism and Popular Culture” in Deniz Kandiyoti and Ayşe Saktanber eds. Fragments of Culture: The Everyday of Modern Turkey. London and New York: I.B. Tauris and Co Publishers, 2002. pp. 254-276. Şen, Abdurrahman. “Beyaz Sinema.” Unpublished Paper. Arslan, Savaş. Late Yeşilçam: Melting in the 1980s. pp. 201-236. Erdoğan, Nezih. “Violent Images: Hybridity and Excess in The Man Who Saved the World” in Karen Ross, Deniz Derman, and Nevena Daković eds. Mediated Identities. Istanbul: Istanbul Bilgi University Press, 2001. pp. 115-129. Özkaracalar, Kaya. “Between Appropriation and Innovation: Turkish Horror Cinema” in Steven Jay Schneider ed. Fear Without Frontiers: Horror Cinema Across the Globe. London: FAB Press, 2003. Tombs, Pete and Giovanni Scognamillo. “Dracula in Istanbul: Turkey” in Peter Tombs ed. Mondo Macabro: Weird and Wonderful Cinema around the World. New York: St. Martin’s Griffin, 1997. pp. 102-115. Arslan, Savaş. Postmortem for Yeşilçam: Post-Yeşilçam, or the New Cinema of Turkey. pp. 237-273. Robins, Kevin and Asu Aksoy. “Deep Nation: The National Question and Turkish Cinema Culture” in Mette Hjort and Scott MacKenzie eds. Cinema and Nation. London and New York: Routledge, 2000. pp. 203-221. Simpson, Catherine. “Turkish Cinema’s Resurgence: The ‘Deep Nation’ Unravels.” Senses of Cinema 6:39 (April-June 2006). Available online at http://www.sensesofcinema.com/contents/06/39/turkish_cinema.html. Suner, Asuman. “Nostalgia for an Imaginary Home: Memory, Space, and Identity in the New Turkish Cinema.” New Perspectives on Turkey 27 (Fall 2002): 61-76. Suner, Asuman. “Horror of a Different Kind: Dissonant Voices of the New Turkish Cinema” Screen 45:4 (Winter 2004): 305-323. Fenner, Angelica. “Turkish Cinema in the New Europe: Visualizing Ethnic Conflict in Sinan Çetin’s Berlin in Berlin.” Camera Obscura 44:15:2 (2000): 104-149. Karanfil, Gökçen. “Becoming Undone: Contesting Nationalisms in Contemporary Turkish Cinema.” National Identities 8:1 (March 2006): 61-75. Loshitzky, Josefa. “Journeys Hope to Fortress Europe.” Third Text 20:6 (November 2006): 745-754. Sippl, Diane. “Ceylan and Company: Autobiographical Trajectories of Cinema.” Cineaction 67 (22 June 2005): 44-57. Elsaesser, Thomas. “Double Occupancy: Space, Place, and Identity in the European Cinema of the 1990s.” Third Text 20:6 (November 2006): 647-658. Göktürk, Deniz. "Turkish Delight - German Fright: Migrant Identities in Transnational Cinema" in Deniz Derman, Karen Ross, and Nevena Dakovic eds. Mediated Identities. Istanbul: Istanbul Bilgi University Press, 2001. pp. 131-149. Mennel, Barbara. “Bruce Lee in Kreuzberg and Scarface in Altona: Transnational Auteurism and Ghettocentrism in Thomas Arslan's Brothers and Sisters and Faith Akin's Short Sharp Shock.” New German Critique 87 (Autumn 2002): 133-156. Anderlini-D’Onofrio, Serena. “Bisexual Games and Emotional Sustainability in Ferzan Özpetek’s Films.” New Cinemas: Journal of Contemporary Film 2:3 (2004): 163-174. |
| References: | Clark, Christopher. “Transculturation, Transe Sexuality, and Turkish Germany: Kutluğ Ataman’s Lola und Bilidikid.” German Life and Letters 59:4 (October 2006): 555-572. Duncan, Derek. “Stairway to Heaven: Ferzan Özpetek and the Revision of Italy.” New Cinemas: Journal of Contemporary Film 3:2 (2005): 101-113. Gallagher, Jessica. “The Limitation of Urban Space in Thomas Arslan’s Berlin Trilogy.” Seminar 42:3 (September 2006): 337-352. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 15 |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 7 | % 35 |
| Presentation | 1 | % 10 |
| Project | % 0 | |
| Seminar | % 0 | |
| Midterms | % 0 | |
| 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 | 16 | 48 | |
| Laboratory | |||
| Application | |||
| Special Course Internship (Work Placement) | |||
| Field Work | |||
| Study Hours Out of Class | 16 | 80 | |
| Presentations / Seminar | 2 | 6 | |
| Project | 6 | 24 | |
| Homework Assignments | 8 | 8 | |
| Quizzes | |||
| Preliminary Jury | |||
| Midterms | |||
| Paper Submission | |||
| Jury | |||
| Final | 2 | 10 | |
| Total Workload | 176 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |