| 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 three criterion: One film review (assignment) and two response papers (1st and 2nd mid-terms). This course is conducted in English however, some of the films listed in the outline are not available with English subtitles. Therefore, this course is recommended for the students who have minimum competence in Turkish. |
|
|
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 | 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). |
| 7 | 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. |
| 8 | 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. |
| 9 | Political cinema Films: Yılmaz Güney, Yol (1981) Yeşim Ustaoğlu, Güneşe Yolculuk (1998) | (Court documents and censorship reports) |
| 10 | 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. |
| 11 | 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. |
| 12 | New Turkish Cinema(s) II Films: Semih Kaplanoğlu, Bal (2009) Nuri Bilge Ceylan, Üç Maymun (2008) Kaan Müjdeci, Sivas (2015) | |
| 13 | 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. |
| 14 | Evaluation of the assignments | |
| 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 |
1
|
40
|
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Portfolios | ||
| Midterms / Oral Exams | ||
| Final / Oral Exam |
2
|
50
|
| 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 |
1
|
17
|
|
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Portfolios | |||
| Midterms / Oral Exams | |||
| Final / Oral Exam |
2
|
11
|
|
| 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
