| CINEMA AND MEDIA RESEARCH (ENGLISH, PHD) | |||||
| PhD | TR-NQF-HE: Level 8 | QF-EHEA: Third Cycle | EQF-LLL: Level 8 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| CMR6002 | Theories of Cinema, Media and Culture II | Spring | 3 | 0 | 3 | 9 |
| 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: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Prof. Dr. NİLAY ULUSOY |
| Course Objectives: | “The great age of theory is over,” he writes, “but not because theory has been discredited; on the contrary, it is precisely because its claims have proven so compelling and productive” This class offers an extensive look at the theory and studies of films. We will first have a look at the historical development and the contemporary state of the research in cinema, film and media studies. Among the questions we will pursue are: • How can we analyze filmic and media texts? • how to engage with questions of ethics and social justice through representations of culture on film. • Gain a basic understanding of film theory and global film history, to be able to identify significant movements and articulate key concepts. • Understand the relationship between film form and its historical and cultural contexts. Describe how a film offers a set of social, political and cultural ideas and questions through form and content. • Demonstrate a competency in discussing the ways in which film is influenced and shaped by individuals, movements, institutions and technologies with local, national, transnational and global dimensions. |
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The students who have succeeded in this course; Ability to Analyze Film and Media Texts – Students will gain the ability to analyze film and media texts in depth, using various theoretical frameworks to examine film language and narrative. Engaging with Cultural Representation and Ethical Issues – Students will be able to discuss ethical and social justice issues through the cultural representations in films, analyzing the social impact of cinema. Gaining Fundamental Knowledge of Film Theory and Global Film History – Students will acquire solid foundational knowledge of major movements and key concepts in film theory and global film history. In-Depth Understanding of Film Form and Historical/Cultural Contexts – Students will gain the ability to analyze how a film presents a series of social, political, and cultural ideas and questions through its form and content, understanding the relationship between film form and historical/cultural contexts. Critical Thinking on the Interaction of Film with Social, Political, and Cultural Dynamics – Students will be able to discuss how films are shaped by individuals, movements, institutions, and technologies, critically engaging with their local, national, transnational, and global dimensions. Written and Oral Expression in Film Theory and Criticism – Students will develop the ability to express their views clearly and persuasively through written and oral analyses of film theory and criticism. |
| Weeks 1-3: Introduction to film theory, sensory theory, and the role of senses in cinema. Analysis of Hollywood cinema, feminist film theory, and queer theory. Exploration of narrative structures, genres, and aesthetics. Weeks 4-5: Detailed study of feminist and queer film theories, including post-feminism and LGBTQ+ representations. Examination of cultural intersections and identities in global cinema. Weeks 6-7: Impact of digital technologies on sensory cinema, including virtual reality (VR) and augmented reality (AR). Future directions in film theory, focusing on ecology, ethics, and audience experience. Weeks 8-9: Practical film analysis using theoretical frameworks. Introduction of short film production projects integrating sensory, feminist, and queer theories. Weeks 10-13: Guest lectures, student-led text reading groups, and final project presentations. Discussions on course learnings, with an emphasis on both theoretical depth and practical application. |
| Week | Subject | Related Preparation | |
| 1) | Ferdinand de Saussure, “General Principles 1: Nature of the Linguistic Sign”, Course in General Linguistics, New York: Open Court, 1972, pp. 65-99. John Durham Peters, “Introduction: The Problem of Communication”, Speaking into the Air: A History of The Idea of Communication, Chicago: University of Chicago Press, 1999, pp. 1-32. Quotations from Heidegger and Wittgenstein | ||
| 2) | Roland Barthes, “The Death of an Author”, in Image, Music and Text, tr. by Stephen Heath, London: Fontana, 1977, pp. 79-125, 155-65. _____________________“Myth Today”, Mythologies, New York: Hill and Wang, pp. 109-159. Quotations from Russian Formalists and Prague Structuralists. | ||
| 3) | Jacques Lacan, “The Agency of the Letter in the Unconscious or Reason Since Freud”, Ecrits, London: Routledge, 2001, pp. 161- 198. Quotations from Nancy and Lacoue-Labarthe, Zizek. | ||
| 4) | Louis Althusser, “The Ideological Apparatus of the State”, Lenin and Philosophy and Other Essays, New York: Monthy Review Pres, 1971. Raymond Williams, “Base and Superstructure in Marxist Cultural Theory”, Culture and Materialism: Selected Essays, London: Verso, 2005, pp. 31-49. Quotations from S. Hall, P. Macherey. | ||
| 5) | Michel Foucault, “Nietzche, Genealogy, History”, “Right of Death and Power over Life” The Foucault Reader, ed.by Paul Rabinow, New York: Pantheon Books, 1984, pp. 76-100. Quotations from other texts of Foucault. | ||
| 6) | İstanbul Film Festivali nedeniyle 1 hafta ara | ||
| 7) | Jacques Derrida, “Signature, Event, Context”, Limited Inc., Nortwestern University Press, 1977, pp. 1-23. Quotations from other texts of Derrida. | ||
| 8) | G. Deleuze & F. Guattari, “Introduction: Rhizome”, “How Do You Make Yourself a Body wthout Organs?”, A Thousand Plateaus: Capitalism and Schizophrenia, tr. By Brian Massumi, Minneapolis: University of Minnesota Press, 2002, pp. 3-26, 149-167. Quotations from other texts of Deleuze and Guattari. | ||
| 9) | Luce Irigaray, “Sexual Difference”, “Love of Same, Love of Other”, and “An Ethics of Sexual Difference”, An Ethics of Sexual Difference, Ithaca: Cornell Univ. Press, 1993, pp. 5-19, 97-115, 116-129. Quotations from J. Kristeva, H. Cixious etc. | ||
| 10) | Gayatri Spivak, “Can the Subaltern Speak?”, Reflections on the History of an Idea: Can The Subaltern Speak, Columbia University Press, 2010, pp. Quotations from E. Said, T. T. Minha, S. Ahmed etc. | ||
| 11) | Jean-Luc Nancy, “The Inoperative Community”, The Inoperative Community, Minnesota: Univ of Minnesota Press, 2001, pp. 1-41. Quotations from Ranciere, G. Agamben, Lacaou-Labarthe etc. | ||
| 12) | Judith Butler, The Psychic Life of Power: Theories in Subjection, Stanford: Stanford UP, 1998. | ||
| 13) | Tüm konuları tekrar | ||
| 14) | Genel tartışma ve sunumlar | - | |
| Course Notes: | Film and theory: an anthology Robert Stam Toby Miller 2000 Blackwell Film Theory An Introduction Through Senses Thomas Elsaesser, Malte Hagener 2010 Routletge Film Theory Goes To The Movies Ed. Jim Collins Hilary Radner, Ava Preacher Collins 1993 Routletge Film Theory and Contemporary Hollywood Movies Ed.Warren Buckland 2009 Routledge Queer Popular Culture Literature, Media, Film, and Television Ed. Thomas Peele, 2007 Palgrave McMillan |
| References: | Judith Butler, The Psychic Life of Power: Theories in Subjection, Stanford: Stanford UP, 1998. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 10 | % 10 |
| Laboratory | % 0 | |
| Application | % 0 | |
| Field Work | % 0 | |
| Special Course Internship (Work Placement) | % 0 | |
| Quizzes | % 0 | |
| Homework Assignments | 10 | % 50 |
| Presentation | % 0 | |
| 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 | 14 | 42 | |
| Laboratory | |||
| Application | |||
| Special Course Internship (Work Placement) | |||
| Field Work | |||
| Study Hours Out of Class | 14 | 28 | |
| Presentations / Seminar | 12 | 12 | |
| Project | 14 | 28 | |
| Homework Assignments | 13 | 26 | |
| Quizzes | 3 | 7 | |
| Preliminary Jury | |||
| Midterms | 1 | 42 | |
| Paper Submission | |||
| Jury | |||
| Final | 2 | 46 | |
| Total Workload | 231 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Have the qualified skills and abilities in production and analysis of academic knowledge and texts (including the conference papers, articles, essays, research projects etc) that would contribute to the national and international academic literature. | 5 |
| 2) | Gain the knowledge and comprehension of the literature on specific research area defined within the fields of cinema, media and cultural studies. | |
| 3) | Have the knowledge about fundamental concepts and main school of thoughts within the fields of cinema, media and cultural stıdies. | 5 |
| 4) | Gain required academic skills for the production of research projects and publications both in Turkish and in English. | 3 |
| 5) | Gain the skills required for grounded analysis, description and interpretation of a subject within the cinema, media and cultural studies fields in conformance with the ethical values and rules. | 3 |
| 6) | Have the academic consciousness and responsibility about the necessity of production of research with potentials of wide influence on literature and society, and with an original academic value. | 5 |
| 7) | Have the analytical skills required for the contextualized interpretation of a phenomenon that is related to cinema, media, and culture along with its relation to the historical, social, political, economic and cultural components. | |
| 8) | Gain the knowledge and the research skills about qualitative and quantitative research. | 2 |