| Course Name | Code | Semester | T+U Hours | Credit | ECTS |
|---|---|---|---|---|---|
| History Of Cinema | SAU 254 | 0 | 1 + 0 | 2 | 2 |
| Precondition Courses | |
| Recommended Optional Courses | |
| Course Language | Turkish |
| Course Level | Bachelor's Degree |
| Course Type | OPTIONAL |
| Course Coordinator | Dr.Öğr.Üyesi TÜLAY ÇELİK |
| Course Lecturers | |
| Course Assistants | |
| Course Category | Other |
| Course Objective | The aim is to handle historical development by explaining dynamics of film production process in the context of economic and social devolopment and to expose essential aesthetic tendencies of film history. |
| Course Content | The course handles essential period of film history, essential mouvements and directors in historic, ecomonic, aesthetic perspective. |
| Development Goals |
|---|
|
| # | Course Learning Outcomes | Teaching Methods | Assessment Methods |
|---|---|---|---|
| 1 | acquise essential information about the development of cinema | Lecture, Self Study, | |
| 2 | watch examples of important films that shapes film history | Lecture, Self Study, | |
| 3 | comprehend the relations between economic developments and film production process | Lecture, Self Study, | |
| 4 | comprehend influence of social developments on films and cinema industry | Lecture, Self Study, | |
| 5 | grasp essential dynamics of film production process | Lecture, Self Study, | |
| 6 | grasp essential aesthetic tendencies of film history | Lecture, Self Study, | |
| 7 | evaluate important movements of film history in ideological context | Lecture, Self Study, | |
| 8 | evaluate cinema in terms of economic, aesthetic and ideological aspects | Lecture, Self Study, | |
| 9 | Lecture, Self Study, |
| Week | Course Topics | Preliminary Preparation |
|---|---|---|
| 1 | Introduction, understandig cinema, birth of cinema in America and in Europe Lumiere Brothers’ and Méliès’ cinema | |
| 2 | Edwin S. Porter, David W. Griffith, Hollywood industrial development, studio system, aesthetic tendencies, silent comedy films (M.Sennett, C.Chaplin) | |
| 3 | European film ındustry, German Expressionism, Soviet Formalism | |
| 4 | European film ındustry, French Impressionism, Poetic Realism | |
| 5 | Cinema in second world war: National cinemas, Italian New Realism | |
| 6 | Italian New Realism: Directors, films, aesthetic tendencies | |
| 7 | Postwar Hollywood and 1950s : collapse of studio system, new organisations in film industry | |
| 8 | Post war European cinema : New wave, film production context | |
| 9 | New wave: directors, films, Britich free cinema | |
| 10 | Auteur cinema, aesthetic tendencies, well-known directors: Bergman, Antonioni, Tarkovsky | |
| 11 | American Independant Cinema | |
| 12 | Developments in 1960s, third world cinema | |
| 13 | Third cinema concept, communication policy, changing national cinemas | |
| 14 | Essential dynamics of contemporary film production, general evaluation |
| 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. Tim Bergfelder, “National, Transnational or Supranational Cinema? Rethinking Europeen Film Studies”. (Electronic Versions) Media, Culture & Society. 2005, Sayı: 27 Toby Miller, “Küresel Hollywood (Global Hollywood): Hollywood Tarihi, Kültür Emperyalizmi ve Küreselleşme”. Ayşegül Gürsoy ve Mehmet Olcay(çev.). Yeni İnsan Yeni Sinema. Sayı: 14, Sonbahar Kış 2003/04 Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Criticism. C.4, Sayı:1, Fall 1979 Vincendeau, Ginette. Issues in European Cinema. World Cinema Critical Approaches, Jhon Hill ve Pamela Church Gibson (ed.).New York: Oxford University Press, 2000. 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. |
| # | Contribution of Course Learning Outcomes to Program Outcomes |
|---|---|
| 1 | acquise essential information about the development of cinema |
| 2 | watch examples of important films that shapes film history |
| 3 | comprehend the relations between economic developments and film production process |
| 4 | comprehend influence of social developments on films and cinema industry |
| 5 | grasp essential dynamics of film production process |
| 6 | grasp essential aesthetic tendencies of film history |
| 7 | evaluate important movements of film history in ideological context |
| 8 | evaluate cinema in terms of economic, aesthetic and ideological aspects |
| 9 |
| Evaluation System | |
|---|---|
| Semester Studies | Contribution Rate |
| 4. Ara Sınav | 100 |
| Total | 100 |
| 1. Yıl İçinin Başarıya | 40 |
| 1. Final | 60 |
| Total | 100 |
| ECTS - Workload Activity | Quantity | Time (Hours) | Total Workload (Hours) |
|---|---|---|---|
| Course Duration (Including the exam week: 16x Total course hours) | 16 | 2 | 32 |
| Hours for off-the-classroom study (Pre-study, practice) | 16 | 3 | 48 |
| Mid-terms | 1 | 15 | 15 |
| Final examination | 1 | 20 | 20 |
| Total Workload | 115 | ||
| Total Workload / 25 (Hours) | 4.6 | ||
| dersAKTSKredisi | 2 | ||