FACULTY OF COMMUNICATION
Department of New Media and Communication
GEAR 305 | Course Introduction and Application Information
| 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
|
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| Course Language |
English
|
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| Course Type |
Service Course
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| Course Level |
First Cycle
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| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| 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 perspective until 1990s. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | The course includes the following topics and related discussions: Historical development and transformation of the film industry in Turkey; production mode, aesthetic features and narrative structure of Yeşilçam industry; leading filmmakers and their films; identity, politics and transnationalism issues; major debates on the history of cinema in Turkey. The evaluation system includes three criteria: One film review (assignment), one data driven film analysis (project) and one response paper (mid-term). 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. |
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Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction How to avoid plagiarism? | |
| 2 | Debates on the historiography of cinema in Turkey Films: Selected early films by Lumiere Brothers and Thomas Edison. Georges Méliès, A Trip to the Moon (1902) Coen Brothers, World Cinema (2007) | 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 I: Social realism and new realism Films: Metin Erksan, Susuz Yaz (1963) Yılmaz Güney, Umut (1970) | Kurtuluş Kayalı, Metin Erksan Sinemasını Okumayı Denemek, Dost: 2004, pp. 77-90; |
| 6 | Movements and waves II: “Ulusal” and “Millî” cinemas Films: Halit Refiğ, Bir Türk’e Gönül Verdim (1969) Yücel Çakmaklı, Birleşen Yollar (1970) | Halit Refiğ, “En Doğru Yargılayıcı Tarihtir” in Ulusal Sinema Kavgası, Dergâh: 2009. Burçak Evren, “Yeşilçam ve İnanç Sineması” in Yücel Çakmaklı: Milli Sinemanın Kurucusu, Küre: 2014. |
| 7 | Yeşilçam I: 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 | 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). |
| 9 | Migration and urbanization Films: Halit Refiğ, Gurbet Kuşları (1964) 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: Zeki Ökten, Askerin Dönüşü (1974) Şerif Gören, Yol (1981) | (Court documents and censorship reports) |
| 11 | Gender Films: Lütfi Akad, Vesikalı Yarim (1968) 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 | Women filmmakers Films Türkan Şoray, Dönüş (1972) Bilge Olgaç, Gülüşan (1985) | Feryal Saygılıgil, “Bilge Olgaç’ın Gülüşan Film için Bir Okuma Denemesi,” Sinecine 2, 2010. |
| 13 | Transnationalism Films: Tunç Okan, Mercedes Mon Amour (1987) | 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. |
| 14 | Evaluation of the assignments | |
| 15 | Review of the semester | |
| 16 | Final Exam |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
2
|
50
|
| Presentation / Jury | ||
| Project |
1
|
40
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
4
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
14
|
3
|
42
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
2
|
8
|
16
|
| Presentation / Jury |
0
|
||
| Project |
1
|
14
|
14
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
120
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
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| 1 | To be able to critically discuss and interpret the theories, concepts and ideas that form the basis of the discipline of new media and communication. |
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| 2 | To be able to critically interpret theoretical debates concerning the relations between the forms, agents, and factors that play a role in the field of new media and communication. |
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| 3 | To have the fundamental knowledge and ability to use the technical equipment and software programs required by the new media production processes. |
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| 4 | To be able to gather, scrutinize and scientifically investigate data in the processes of production and distribution. |
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| 5 | To be able to use the acquired theoretical knowledge in practice. |
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| 6 | To be able to take responsibility both individually and as a member of a group to develop solutions to problems encountered in the field of new media and communication. |
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| 7 | To be informed about national, regional, and global issues and problems; to be able to generate problem-solving methods depending on the quality of evidence and research, and to acquire the ability to report the conclusions of those methods to the public. |
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| 8 | To be able to critically discuss and draw on theories, concepts and ideas that form the basis of other disciplines complementing the field of new media and communication studies. |
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| 9 | To be able to develop and use knowledge and skills towards personal and social goals in a lifelong process. |
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| 10 | To be able to apply social, scientific and professional ethical values in the field of new media and communication. |
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| 11 | To be able to collect datain the areas of new media and communication and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). |
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| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. |
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| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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