Course Name Code Semester T+U Hours Credit ECTS
Film Art GIT 207 3 3 + 0 3 5
Precondition Courses
Recommended Optional Courses
Course Language Turkish
Course Level Bachelor's Degree
Course Type Compulsory
Course Coordinator Dr.Öğr.Üyesi TÜLAY ÇELİK
Course Lecturers Dr.Öğr.Üyesi TÜLAY ÇELİK,
Course Assistants
Course Category Field Proper Education
Course Objective
The aim of the course is to teach the basic principles of cinematography, to discuss the historical development of cinema, the basic dynamics of film production process, basic film analysis approaches, to explain and evaluate the aesthetic tendencies of cinema history.
Course Content
The course contains the basic principles of cinematography, film history and basic film analysis approaches
# Course Learning Outcomes Teaching Methods Assessment Methods
1 The student earns the basic knowledge about the development of cinema Lecture, Question-Answer, Testing,
2 Watches essentials films of film history Demonstration, Case Study, Testing, Homework,
3 Understands the basic principles of cinematography Lecture, Discussion, Testing, Homework,
4 Learns the essential aesthetic tendencies of film production. Lecture, Question-Answer, Testing,
5 Understands the main approaches in film criticism Lecture, Self Study, Testing, Homework,
Week Course Topics Preliminary Preparation
1 Introduction, basic elements of film language; classical narration, plan, scene, sequence, shots, camera angles, camera movements, editing, lighting, acting, costume
2 The structure of mise-en-scene and editing, examination of cinematographic elements with examples
3 The birth of cinema in Europe and America: The Lumière Brothers, Cinema Méliès
4 Edwin S. Porter, David W. Griffith, Hollywood Cinema's industrial development, studio system, aesthetic tendencies, silent comedies (M.Sennett, C.Chaplin)
5 Film Industry in Europe, German Expressionism, Russian Formalism, French Impressionism, Poetic Realism
6 Cinema in World War II: National cinemas, Italian New Realism: Directors, films, aesthetic tendencies
7 Hollywood after the War and 1950s: The decline of the studio system, new structures
8 New Wave: directors, films, Free Cinema in the UK, Discussion of audience-film relationship, subjectivity - objectivity problem, critical approaches.
8 New Wave: directors, films, Free Cinema in the UK, Discussion of audience-film relationship, subjectivity - objectivity problem, critical approaches.
9 Auteur Cinema, aesthetic tendencies, directors: practice of Auteur criticism: Bergman, M. Antonioni, A.Tarkovsky
9 Auteur Cinema, aesthetic tendencies, directors: practice of Auteur criticism: Bergman, M. Antonioni, A.Tarkovsky
10 Genre film criticism, Hollywood and narrative patterns, sample film analysis The development of independent American cinema, examination of sample films
11 Third World cinema, Third Cinema concept, communication policies, changing national cinemas, new searches in cinema, Transnational Cinema and Discussion Areas
12 Feminist, psychoanalytic and ideological approaches in cinema, examination of films
13 The intersection of diverse approaches in film criticism and discussions: examples of film analysis
14 Digital cinema and its theory
Resources
Course Notes
Course Resources

Abisel, Nilgün. Sessiz Sinema. 2.Basım. İstanbul: Om Yayınevi, 2003.
Biryıldız, Esra. Sinemada Akımlar. 2.Basım. İstanbul: Beta Yayınları, 2000.
Biryıldız, Esra ve Zeynep Çetin Erus (drl.).Üçüncü Sinema ve Üçüncü Dünya Sineması. İstanbul: Es Yayınları, 2007.
Büker, Seçil. “Auteur Kurama Giriş”, Sinema, Tarih, Kuram, Eleştiri. S.Büker ve G.Topçu (drl.). Ankara: Gazi Üniv.İlet.Fak.Yayınları, 2008, ss.312-316.
Kılıç, Levent. Fotografın ve Sinemanın Toplumsal Tarihi. Ankara: Dost Yayınevi, 2008.
Monaco, James. Bir Film Nasıl Okunur. Ertan Yılmaz (çev.). İstanbul: Oğlak Yayınları, 2001.
Kristin Thompson ve David Bordwell. Film History: An Introduction. New York: Mc Graw Hill Press, 1994.
Jhon Hill ve Pamela Church Gibson (ed.). World Cinema Critical Approaches, New York: Oxford University Press, 2000.
Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Criticism. C.4, Sayı:1, Fall 1979
Tarkovski, Andrey. Mühürlenmiş Zaman, Füsun Ant (çev.), İstanbul: Agora Kitaplığı, 2007.
Teksoy, Rekin. Rekin Teksoy’un Sinema Tarihi. İstanbul: Oğlak Yayınları, 2005.
Smith, Geoffry Nowell ve Steven Ricci (ed.). Hollywood and Europe, Economics, Culture, National Identity: 1945-95. London: British Film Institute, 1998.
Dorsay, Atilla. 100 Yılın Yönetmeni. 3.Basım. İstanbul: Remzi Kitabevi, 2000.
Büker, Seçil. Sinema Dili Üzerine Yazılar. Ankara: Dost Yayınları, 1985.
Onaran, Alim Şerif. Sessiz sinema Tarihi. Ankara: Kitle Yayınları, 1994.
Onaran, Alim Şerif. Sinemaya Giriş. 2. Basım. İstanbul: Maltepe Üniversitesi Yayınları, 1999.
Corrigan, Timothy (2008). Film Eleştirisi El Kitabı (çev. Ahmet Gürata), Ankara: Dipnot Yayınları.
Foss, Bob (2009). Sinema ve Televizyonda Anlatım Teknikleri ve Dramaturji (çev. Mustafa Gerçeker), İstanbul: Hayalbaz Kitap.
Oluk, Ayşen (2008). Klasik Anlatı Sineması, İstanbul: Hayalet Kitap. 
Özden, Zafer (2004). Film Eleştirisi: Film Eleştirisinde Temel Yaklaşımlar ve Tür Filmi Eleştirisi, Ankara: İmge Kitabevi Yay.
Parsa, Seyide (2008). Film Çözümlemeleri, İstanbul: Multilingual Yay.
Andrew M. Butler (2011). Film Çalışmaları, İstanbul: Kalkedon Yay.
William Indick (2011). Senaryo Yazarları İçin Psikoloji, Çev: ertan Yılmaz, Agora Kitaplığı
Sinematografi: Kuram ve Uygulama, Blain Brown, Hil Yayınları / Sinema Dizisi
Film Sanatı, David Bordwell , De Ki Yayınları / Sinema Tarihi-Kuramı Dizisi
Film, Biçim ve Kültür, Robert Kolker, De Ki Yayınları
Sanat Sineması Üzerine, Ali Karadoğan, De Ki Yayınları
Modernizmi Seyretmek, Andras Balint Kovacs, De ki yayınları
Film çözümlemesinde Jungcu Yaklaşım, Luke Hockely, Es yayınları
Filmde Yöntem ve Eleştiri, Ertan Yılmaz, De ki yayınları

Order Program Outcomes Level of Contribution
1 2 3 4 5
1 To have advanced knowledge and equipment in the field of Visual Communication (Multimedia, Photography, Cinema, Graphic Design), to be able to use the theoretical and practical knowledge acquired in this field; To be able to discuss, to interpret scientifically and to be able to evaluate. X
2 To know and understand basic art principles and to be able to adapt them to the field of Visual Communication Design. X
3 To have knowledge of computer aided design; To have knowledge about design techniques and methods in different fields and to be able to apply them. X
4 To be able to critically evaluate the knowledge and skills acquired in the field of visual communication design, to identify learning needs and to direct their learning throughout life. X
5 To be able to define problems related to visual communication design, to develop solutions based on evidence and research. X
6 To be able to inform people and institutions about visual communication design issues; To be able to convey their thoughts and solutions to problems in written and verbal form, to support them with quantitative and qualitative data and share them with experts and non-experts. X
7 To be able to benefit from other disciplines that form the basis of visual communication design by paying attention to interdisciplinary interaction, to have basic knowledge about these disciplines and to create a basis for mutual interaction in different fields. X
8 To be able to take responsibility individually and as a group member to solve unforeseen and complex problems encountered in practice; To have effective communication skills. X
9 To have the capacity to perceive, think, design, apply, analyze and interpret multidimensionally. X
10 To have knowledge about the legal regulations and procedures in the relevant field of art. X
11 To be able to follow information about visual communication design using a foreign language. X
12 To have competence in the production standards of the field and to be able to use the information and communication technologies required by the field. X
13 To have social, scientific and ethical values ??in the stages of collection, interpretation, announcement and application of data related to visual communication. X
14 To be able to transform abstract and concrete concepts into creative thinking, innovative and original works, based on the versatile and open-minded thinking model. X
15 To have aesthetic awareness. X
Evaluation System
Semester Studies Contribution Rate
1. Ödev 20
2. Ödev 10
3. Ödev 60
1. Performans Görevi (Seminer) 10
Total 100
1. Final 60
1. Yıl İçinin Başarıya 40
Total 100
ECTS - Workload Activity Quantity Time (Hours) Total Workload (Hours)
Course Duration (Including the exam week: 16x Total course hours) 16 3 48
Hours for off-the-classroom study (Pre-study, practice) 16 2 32
Final examination 1 16 16
Assignment 3 9 27
Performance Task (Seminar) 1 10 10
Total Workload 133
Total Workload / 25 (Hours) 5.32
dersAKTSKredisi 5