| 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 |
| CMR6019 | From Film Noir to Neo-Noir and Further | Fall | 3 | 0 | 3 | 12 |
| 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 ELENI VARMAZI |
| Course Lecturer(s): |
Dr. Öğr. Üyesi ELENI VARMAZI |
| Course Objectives: | The course aims to examine the characteristics of the film noir genre in its classic form (40’s and 50’s) as well as the genre’s revitalization in the following decades. |
|
The students who have succeeded in this course; -The students will get acquainted with the patterns and the form of noir films. - The students will get acquainted with classic noir films. -The students will get acquainted with the most known neo-noir films. -The students will acquire a solid theoretical background concerning noir and neo-noirs films. The students will get involved in discussions concerning the nature of noire films (genre, movement, chronotope). |
| Noir films depict a world that is merciless and unforgiving and narrate stories that oppose the American Dream. Detectives and criminals alike are dressed in raincoats and are led to their damnation by beautiful femmes fatales. It can be considered the genre that is all about style. The extensions of noirs films, the neo-noir films, adapt and transform the characteristics of the genre in modern and contemporary environments. However, these characteristics do not restrict themselves only within the genre but they expand on other genres too. These are issues to be considered and discussed during the course through relative readings and representative film screenings. |
| Week | Subject | Related Preparation | |
| 1) | Introduction to the Film Noir genre. Hollywood and USA after WWII. | ||
| 2) | The classic Film Noir and its structure. | Screening of the film: The Killer's. Readings from the book: The dark side of the screen. | |
| 3) | The proto noir films. | Screening of the film: Laura. Readings from the book: The dark side of the screen. | |
| 4) | The film noir outside of the studios and on locations. | Screening of the film: Night and the City. Readings from the book: The dark side of the screen. | |
| 5) | Femme fatale in film noir. | Screening of the film: Sorry wrong number. Readings from the book: Women in Film Noir. | |
| 6) | Stanley Kubrick and film noir. | Screening of the film: The Killing. Readings from the book: Refiguring American Film Genres. | |
| 7) | Film Noir in France. | Screening of the film: Le Samurai. Readings from the book: European film Noir. | |
| 8) | Film Noir in France (Continued). | Screening of the film: Le doulos. Readings from the book: European Film Noir. | |
| 9) | Students Presentation. | Students will prepare and present a film of their choice. | |
| 10) | Introduction to the issues concerning Neo-Noir. | Screening of the film: Angel's heart. Readings from the book: Detours and lost highways. | |
| 11) | Discussions concerning the identity of neo-noir films. | Screening of the film: Klute. Readings from the book: The philosophy of Neo-noir. | |
| 12) | Noir characteristics in other film genres. | Screening of the film: Gataca. Readings from the book: The philosophy of Neo-noir. | |
| 13) | Noir characteristics in other genres (continued). | Screening of the film: Who caught Roger Rabbit. Readings from the book: Neo-Noir, Contemporary film noir from Chnatown to the Dark Knight. | |
| 14) | Students Presentation. | Students will prepare and present a film of their choice. | |
| Course Notes: | Selected readings from: The Dark side of the screen: Film Noir, Foster Hirch, Da Capo Press, 2008 Neo-Noir: Contemporary Film Noir from Chinatown To the Dark Night, Douglas Keesey, Kamera Books, 2010 More than Night: Film Noir in its Context, Naremor James, University of California Press, 2008 |
| References: | The philosophy of Film Noir, Mark T. Conrad (ed.), The University Press of Kentucky, 2006 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 3 | % 25 |
| Laboratory | 0 | % 0 |
| Application | 0 | % 0 |
| Field Work | 0 | % 0 |
| Special Course Internship (Work Placement) | 0 | % 0 |
| Quizzes | 0 | % 0 |
| Homework Assignments | 3 | % 25 |
| Presentation | 3 | % 20 |
| Project | 0 | % 0 |
| Seminar | 0 | % 0 |
| Midterms | 0 | % 0 |
| Preliminary Jury | 0 | % 0 |
| Final | 10 | % 30 |
| Paper Submission | 0 | % 0 |
| Jury | 0 | % 0 |
| Bütünleme | % 0 | |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 70 | |
| PERCENTAGE OF FINAL WORK | % 30 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| 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 | 14 | 6 | 84 |
| Presentations / Seminar | 3 | 9 | 27 |
| Project | 0 | 0 | 0 |
| Homework Assignments | 14 | 2 | 28 |
| Quizzes | 0 | 0 | 0 |
| Preliminary Jury | 0 | 0 | 0 |
| Midterms | 0 | 0 | 0 |
| Paper Submission | 3 | 0 | 0 |
| Jury | 0 | 0 | 0 |
| Final | 1 | 20 | 20 |
| Total Workload | 201 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution |