Information
Code | RTS723 |
Name | New Cinema History |
Term | 2024-2025 Academic Year |
Semester | . Semester |
Duration (T+A) | 3-0 (T-A) (17 Week) |
ECTS | 6 ECTS |
National Credit | 3 National Credit |
Teaching Language | Türkçe |
Level | Yüksek Lisans Dersi |
Type | Normal |
Mode of study | Yüz Yüze Öğretim |
Catalog Information Coordinator |
Course Goal / Objective
The aim of this course is to look at the past -again- through cinema spaces, cinema memories, the act of going to the movies and the experience of watching them, based on the New Cinema History approach. The New Cinema History approach is a set of propositions and methods that became widespread in the 2000s in order to overcome the problems of mainstream film-centered historiography. This approach aims to discuss cinema through the experience of the audience in front of the movie screen. For this reason, the approach focuses on screening practices, cinema spaces, the experience of going to the cinema and the spectacle. Although there are similar approaches within traditional communication or sociology of cinema that prioritize the cinema industry, the New Cinema History uses theories, concepts, and methods from the humanities and social sciences and places the experience of going to the cinema at the center of both historical and contemporary studies. The New Cinema History approach proposes new sources such as screening programs, cinema newsletters, local archives, cinema magazines or literary texts for this research with different contexts; oral history and microhistory studies of screening venues and the experience of going to the cinema; and innovative approaches and methods such as mapping and routing, which are very different from traditional historiographical tools such as computational analysis, databases and GIS. Based on this approach, the aim of this course is to look at the history(s) of cinema by focusing on the spectacle, the experience of going to the cinema, cinema spaces, film screening and distribution activities and to develop theoretical and methodological discussions in this context.
Course Content
World cinema as a concept, local, national and international cinemas and movie theaters, periods and movements in cinema, film manifestos, film festivals and interactions, recent debates and new trends in world cinema.
Course Precondition
none
Resources
Allen, R. C. (1990). From exhibition to reception: reflections on the audience in film history. Screen, 31(4), 347-356. Biltereyst, D., Maltby, R., & Meers, P. (Eds.). (2013). Cinema, audiences and modernity: New perspectives on European cinema history. Routledge. Biltereyst, D., Maltby, R., & Meers, P. (Eds.). (2019). The Routledge companion to new cinema history. Routledge. Biltereyst, D., & Meers, P. (2011). The political economy of audiences. The handbook of political economy of communications, 415-435. Biltereyst, D., & Meers, P. (2016). New cinema history and the comparative mode: Reflections on comparing historical cinema cultures. Alphaville: Journal of Film and Screen Media, (11), 13-32. Biltereyst, D., & Meers, P. (2018). Film, cinema and reception studies. Reception studies and audiovisual translation, 21-41. Biltereyst, D., & Van de Vijver, L. (Eds.). (2020). Mapping Movie Magazines: Digitization, Periodicals and Cinema History. Springer Nature. Bowles, K. (2011). Lost horizon: the social history of the cinema audience. History Compass, 9(11), 854-863. Casetti, F. (2009). Filmic experience. Screen, 50(1), 56-66. Ercole, P., Treveri Gennari, D., & O’Rawe, C. (2017). Mapping cinema memories: Emotional geographies of cinemagoing in Rome in the 1950s. Memory Studies, 10(1), 63-77. Fuller-Seeley, K. (Ed.). (2008). Hollywood in the neighborhood: Historical case studies of local moviegoing. Univ of California Press. Gennari, D. T., O’Rawe, C., Hipkins, D., Dibeltulo, S., & Culhane, S. (2020). Italian Cinema Audiences: Histories and Memories of Cinema-going in Post-war Italy. Bloomsbury Publishing USA. Gennari, D. T., & Sedgwick, J. (2015). Memories in context: the social and economic function of cinema in 1950s Rome. Film history: An international journal, 27(2), 76-104. Kuhn, A., Biltereyst, D., & Meers, P. (2017). Memories of cinemagoing and film experience: An introduction. Memory Studies, 10(1), 3-16. Maltby, R., Biltereyst, D., & Meers, P. (Eds.). (2011). Explorations in new cinema history: Approaches and case studies. John Wiley & Sons. Meers, P., Biltereyst, D., & Van De Vijver, L. (2010). Metropolitan vs rural cinemagoing in Flanders, 1925–75. Screen, 51(3), 272-280. Stokes, M., & Maltby, R. (Eds.). (2019). Hollywood spectatorship: Changing perceptions of cinema audiences. Bloomsbury Publishing. Stokes, M., & Maltby, R. (Eds.). (1999). American movie audiences: From the turn of the century to the early sound era. London: British Film Institute. Thissen, J., & Zimmermann, C. (2017). Cinema beyond the City. Bloomsbury Publishing. Treveri-Gennari, D., O’Rawe, C., & Hipkins, D. (2011). In Search of Italian Cinema Audiences in the 1940s and 1950s: Gender, genre and national identity. Participations: Journal of Audience & Reception Studies, 8(2), 539-553. Van de Vijver, L., & Biltereyst, D. (2013). Cinemagoing as a Conditional Part of Everyday Life: Memories of Cinemagoing in Ghent from the 1930s to the 1970s. Cultural Studies, 27(4), 561-584.
Notes
Bordwell, D. (2016). Hollywood’un Film Dili. Z. Atam vd. (çev.), İstanbul: Doruk Yayınları. Bordwell, D. ve K. Thompson. (2012). Film Sanatı. E. Yılmaz & E. S. Onat (çev.), Ankara: De Ki Basım Yayım. Büker, S. & Topçu, Y. G. (Ed.) (2010). Sinema: Tarih–Kuram–Eleştiri. İstanbul: Kırmızı Kedi Yayınevi. Elsaesser, T. & Hagener, M. (2014). Film Kuramı – Duyular Yoluyla Bir Giriş. B. Soner & B. Yıldırım (çev.), Ankara: Dipnot Yayınları. Frampton, D. (2013). Filmozofi – Sinemayı Yepyeni Bir Tarzda Anlamak İçin Manifesto. C. Soydemir (çev.), İstanbul: Metis Yayınları. Kracauer, S. (2015). Film Teorisi – Fiziksel Gerçekliğin Kurtuluşu. Ö. Çelik (çev.), İstanbul: Metis Yayınları. Mulvey, L. (2012). Saniyede 24 Kare Ölüm – Durağanlık ve Hareketli Görüntü. S. Dingiloğlu (çev.), İstanbul: Doruk Yayınları. Ryan, M. ve D. Kellner. (1997). Politik Kamera. E. Özsayar (çev.), İstanbul: Ayrıntı Yayınları. Stam, R. (2014). Sinema Teorisine Giriş. S. Salman & Ç. Asatekin (çev.), İstanbul: Ayrıntı Yayınları. Thomson, D. (2015). Filmler Hayatımızı Nasıl Etkiler? A. Ay (çev.), İstanbul: Alfa. Wayne, M. (2009). Politik Film: Üçüncü Sinema’nın Diyalektiği. E. Yılmaz. (çev.), İstanbul: Yordam Kitap. Wayne, M. (Ed.) (2011). Sinemayı Anlamak – Marksist Perspektifler. E. Yılmaz (çev.), Ankara: De Ki Basım Yayım.
Course Learning Outcomes
Order | Course Learning Outcomes |
---|---|
LO01 | Students know the processes related to the history of cinema and the development of cinema; basic periods, movements, directors and films; evaluate the art of cinema from a critical point of view according to basic periods and movements. |
LO02 | Discuss the film history in geographical concept and explain the main research areas of film theories. |
LO03 | Evaluate the conceptualisation of the relationship between film and reality in film theories. |
LO04 | Discuss the changes in film theories posed by technological developments in historical context. |
LO05 | Students relate and analyse the use of cinema films in media, communication and culture industries with different concepts such as consumption, daily life, identity, belonging, memory, discourse and gender. |
LO06 | Contrast differences between classical and modern styles of cinematic narration. |
LO07 | Analyze the dynamics affecting film interpretation of the audience. |
LO08 | Describe the psychoanalytic, structuralist, semiotic, feminist, Marxist, and etc. approaches used in the film analysis. |
LO09 | Comment on a film in terms of main approaches in film theories. |
Relation with Program Learning Outcome
Order | Type | Program Learning Outcomes | Level |
---|---|---|---|
PLO01 | Bilgi - Kuramsal, Olgusal | Graduates have the knowledge of thinking in different fields of social sciences and adapting them into their own specialized applications and research. | 5 |
PLO02 | Bilgi - Kuramsal, Olgusal | Graduates use research methods and techniques applied in the field of radio, television and cinema, has theoretical and practical knowledge. | |
PLO03 | Bilgi - Kuramsal, Olgusal | Graduates have knowledge of art, aesthetics, law and general culture related to the field. | 5 |
PLO04 | Bilgi - Kuramsal, Olgusal | Graduates can comprehend the connections of radio, television and cinema with society and culture. | 4 |
PLO05 | Bilgi - Kuramsal, Olgusal | To be able to question the relationality between radio, television and cinema, technology and society and to comprehend the changing scientific dynamics of the field. | 4 |
PLO06 | Beceriler - Bilişsel, Uygulamalı | Graduates are able to realize interdisciplinary working processes and conduct research related to the field. | |
PLO07 | Beceriler - Bilişsel, Uygulamalı | Graduates are able to develop connections between art, aesthetics, law and general culture knowledge related to the field. | 4 |
PLO08 | Beceriler - Bilişsel, Uygulamalı | Graduates acquire critical thinking and interpretation skills in the field of radio, television and cinema. | 4 |
PLO09 | Yetkinlikler - Bağımsız Çalışabilme ve Sorumluluk Alabilme Yetkinliği | Graduates carry out researches related to the field independently. | |
PLO10 | Yetkinlikler - Bağımsız Çalışabilme ve Sorumluluk Alabilme Yetkinliği | Graduates are able to lead in environments that require solving problems related to the field; organizes personal, institutional and team work. | |
PLO11 | Yetkinlikler - Öğrenme Yetkinliği | Graduates evaluate the theoretical knowledge and skills acquired in the field with a critical approach. | |
PLO12 | Yetkinlikler - Öğrenme Yetkinliği | Graduates guide the learning of individuals and groups under his/her responsibility. | |
PLO13 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates are able to convey current developments and projects carried out in the field with appropriate communication tools. | |
PLO14 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates use advanced information and communication technologies together with computer software at the level required by the field. | |
PLO15 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates can establish the relationship between artistic, social, economic and political developments and the field of radio, television and cinema. | 4 |
PLO16 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates use the specialized knowledge and problem solving skills acquired in the field in interdisciplinary studies. | |
PLO17 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates publish scientific articles and papers related to the field by observing ethical values. |
Week Plan
Week | Topic | Preparation | Methods |
---|---|---|---|
1 | Introduction to the New Cinema History Course; Course Content, Course Structure, Obligations within the Course | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma, Anlatım |
2 | Problems of Traditional/Conventional Historiography and New Approach to Cinema History – Cinema History, Cultural Memory and Cinema Experience | Reading and Watching | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
3 | Formation of Local, National and International Film Production, Distribution and Screening Practices and Early Cinema Audiences I | Reading and Watching | Öğretim Yöntemleri: Soru-Cevap, Anlatım, Tartışma |
4 | Formation of Local, National and International Film Production, Distribution and Screening Practices and Early Cinema Audiences II | Reading and Watching | Öğretim Yöntemleri: Soru-Cevap, Tartışma, Anlatım |
5 | Cinema Venues, Programming and Film Screening Practices at Local, National and International Scales I | Reading and Watching | Öğretim Yöntemleri: Soru-Cevap, Anlatım, Tartışma |
6 | Cinema Venues, Programming and Film Screening Practices at Local, National and International Scales II | Reading and Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
7 | Cinema Outside the Metropolises and City Centres | Reading and Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
8 | MIDTERM EXAM | Reading | Ölçme Yöntemleri: Yazılı Sınav, Ödev |
9 | Film Distribution at Local, National and International Scales – The Position of the Audience in Film Flows I | Reading and Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
10 | Film Distribution at Local, National and International Scales – The Position of the Audience in Film Flows II | Reading and Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
11 | Methodology in New Cinema History Research I – Comparing Audience and Cinema Cultures in Historical Context | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
12 | Methodology in New Cinema History Research II – Researching Cinema Venues in Historical Context | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
13 | Methodology in New Cinema History Research III – Researching Film Screening Practices and Programmes in Historical Context | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
14 | Methodology in New Cinema History Research IV – Discussing Film Distribution and Flow in Historical Context | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
15 | Methodology in New Cinema History Research V – Working with Documents and Mixed Methods | Reading | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
16 | FINAL EXAM | Reading | Ölçme Yöntemleri: Sözlü Sınav, Ödev |
17 | MAKE-UP EXAM | Reading | Ölçme Yöntemleri: Sözlü Sınav, Ödev |
Student Workload - ECTS
Works | Number | Time (Hour) | Workload (Hour) |
---|---|---|---|
Course Related Works | |||
Class Time (Exam weeks are excluded) | 14 | 3 | 42 |
Out of Class Study (Preliminary Work, Practice) | 14 | 5 | 70 |
Assesment Related Works | |||
Homeworks, Projects, Others | 0 | 0 | 0 |
Mid-term Exams (Written, Oral, etc.) | 1 | 15 | 15 |
Final Exam | 1 | 30 | 30 |
Total Workload (Hour) | 157 | ||
Total Workload / 25 (h) | 6,28 | ||
ECTS | 6 ECTS |