| Course Name |
Turkish Cinema
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
GEAR 305
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
|||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course introduces the emergence and transformation of the film industry in Turkey from a historical and thematic perspective. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Content | The course includes the following topics and related discussions: Historical development and transformation of the film industry in Turkey; leading filmmakers and their films; identity, politics and transnationalism issues; major debates on the history of cinema in Turkey. The evaluation system includes 3 assignments: Film review (750 words), response paper (500 words) and digital data creation. |
|
|
Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Related Preparation |
| 1 | Introduction How to avoid plagiarism? | |
| 2 | Debates on the historiography of cinema in Turkey Films: Lumiere Brothers, Bullfight in Spain Abel Gance, Napoleon Lumiere Brothers, Arrival of a Train at La Ciotat Coen Brothers, World Cinema | Dilek Kaya Mutlu, “The Russian Monument at Ayastefanos (San Stefano): Between Defeat and Revenge, Remembering and Forgetting”, Middle East Studies 43:1 (2007); Savaş Arslan, “Introduction” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011. |
| 3 | Production and movie-going in Turkey before 1950 Films: Muhsin Ertuğrul, Aysel Bataklı Damın Kızı (1935) Muhsin Ertuğrul, Kahveci Güzeli (1941) | Savaş Arslan “Pre-Yeşilçam: Cinema in Turkey until the Late 1940s” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011. |
| 4 | Early masters of a late industry: The “cinema artists” generation Films: Lütfi Akad, Kanun Namına (1952) Osman Seden, Düşman Yolları Kesti (1959) | Savaş Arslan, “Early Yeşilçam: The Advent of Yeşilçam in the 1950s” in Cinema in Turkey: A New Critical History, Oxford University Press: 2011. |
| 5 | Movements and waves: Social realism, new realism and national cinema Films: Metin Erksan, Susuz Yaz (1963) Halit Refiğ, Bir Türk’e Gönül Verdim (1969) Yılmaz Güney, Umut (1970) | Kurtuluş Kayalı, Metin Erksan Sinemasını Okumayı Denemek, Dost: 2004, pp. 77-90; Halit Refiğ, “En Doğru Yargılayıcı Tarihtir” in Ulusal Sinema Kavgası, Dergâh: 2009. |
| 6 | Introduction to digital film studies and data creation | “A Short Guide to Digital Humanities” in A. Burdick, J. Drucker et al. Digital_Humanities, The MIT Press: 2012. |
| 7 | Yeşilçam I: Genres and narration Films: Orhan Aksoy, Samanyolu (1967) Çetin İnanç, Dünyayı Kurtaran Adam (1982) | Nezih Erdoğan, “Narratives of Resistance: National Identity and Ambivalance in the Turkish Melodrama between 1965 and 1975”, Screen 39:3 (1998); Paul Willemen, “The Zoom in Popular Cinema: A Question of Performance”, Inter-Asia Cultural Studies (2013). |
| 8 | Yeşilçam II: Production and distribution Films: Yavuz Turgul, Aşk Filmlerinin Unutulmaz Yönetmeni (1990) Cem Kaya, Remake, Remix, Rip-Off (2014) | Nilgün Abisel, “Türk Sinemasında Film Yapımı Üzerine Notlar” in Türk Sineması Üzerine Yazılar, Phoenix: 2005. |
| 9 | Migration and urbanization Films: Halit Refiğ, Gurbet Kuşları (1964) Lütfi Akad, Gelin (1973) Kartal Tibet, Sultan (1978) | Gönül Dönmez-Colin, “Migration, Dis/Misplacement and Exile”, in Turkish Cinema: Identity, Distance and Belonging, Reaktion Books: 2008. |
| 10 | Political cinema Films: Yılmaz Güney, Yol (1981) Yeşim Ustaoğlu, Güneşe Yolculuk (1998) | (Court documents and censorship reports) |
| 11 | Gender Films: Orhan Aksoy, Vurun Kahpeye (1964) Atıf Yılmaz, Dul Bir Kadın (1985) | Gönül Dönmez-Colin, “Gender, Sexuality and Morals in Transition”, in Turkish Cinema: Identity, Distance and Belonging, Reaktion Books: 2008. |
| 12 | New Turkish Cinema(s) I Films: Mustafa Altıoklar, İstanbul Kanatlarımın Altında (1996) Zeki Demirkubuz, Üçüncü Sayfa (1998) | Zahit Atam, “Critical Thoughts on the New Turkish Cinema” in Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar, Cambridge Scholars Publishing: 2009. |
| 13 | New Turkish Cinema(s) II Films: Semih Kaplanoğlu, Bal (2009) Nuri Bilge Ceylan, Üç Maymun (2008) Kaan Müjdeci, Sivas (2015) | |
| 14 | Cinema in Turkey in times of mobility and transnationalism Films: Tunç Okan, Mercedes Mon Amour (1987) Ben Hopkins, Pazar: Bir Ticaret Masalı (2007) | Nejat Ulusay, “A Transformational Experience within the Contexts of ‘National’ and ‘Transnational’: The Case of Turkish Cinema” in Imaginaries Out of Place: Cinema, Transnationalism and Turkey, Gökçen Karanfil and Serkan Şavk (eds.), Cambridge Scholars Publishing: 2012; Deniz Bayrakdar “Introduction: ‘Son of Turks’ claim: ‘I’m a child of European Cinema” in Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar, Cambridge Scholars Publishing: 2009. |
| 15 | Review of the semester | |
| 16 | Final Exam |
| Course Textbooks | |
| References |
| Semester Requirements | Number | Percentage |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Homework / Assignments |
3
|
90
|
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Portfolios | ||
| Midterms / Oral Exams | ||
| Final / Oral Exam | ||
| Total |
| Contribution of Semester Work to Final Grade | 4 |
100 |
| Contribution of Final Work to Final Grade | ||
| Total |
| Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours Including exam week: 16 x total hours |
16
|
3
|
48
|
| Laboratory / Application Hours Including exam week: 16 x total hours |
16
|
||
| Study Hours Out of Class |
16
|
2
|
|
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Homework / Assignments |
3
|
13
|
|
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Portfolios | |||
| Midterms / Oral Exams | |||
| Final / Oral Exam | |||
| Total |
119
|
|
#
|
Program Qualifications / Outcomes |
* Level of Contribution
|
||||
1 |
2 |
3 |
4 |
5 |
||
| 1 | Successfully applies theoretical and practical knowledge and skills in Culinary Arst and Management | |||||
| 2 | Professionally applies artistic knowledge and skills that are required in the field of Culinary Arts | |||||
| 3 | Carries best practices in terms of work and food security, safety and hygiene in food production | |||||
| 4 | Appreciates, evaluates and makes decisions regarding to visual, textual and nutritional data with respect to food production and presentation | |||||
| 5 | Recognizes and evaluates the impact of gastronomy on culture and society | |||||
| 6 | Possesses visual thinking skils and effectively conveys visual concepts | |||||
| 7 | Assumes responsibility for solving complex problems that may occur in the field of Culinary Arts and management, both individually and as a team member | |||||
| 8 | Initiates culinary projects and can assume leadership for success | |||||
| 9 | Critically evaluates the knowledge and skills possessed in Culinary Arts and Management, defines learning requirements and directs own learning | |||||
| 10 | Informs individuals and organizations on topics related to Culinary Arts and Management and effectively conveys opinions in verbal or written ways | |||||
| 11 | Shares opinions with experts or nonexperts by supporting them with quantitative and qualitative data | |||||
| 12 | Possesses necessary knowledge and skills in relevant fields such as gastronomy, design and management and effectively applies them to the practice of Culinary Arts | |||||
| 13 | Follows the developments in field and communicates with colleguages by fleuntly using a foreign language | |||||
| 14 | Speaks a second foreign language in intermediate level | |||||
| 15 | Effectively uses technological equipment related to the field | |||||
| 16 | Possesses ethical values in the field of Culinary Arts and Management | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
