TÜRKÇE
ENGLISH
Information
| Code | RTST716 |
| Name | New Cinema Movements |
| Term | 2024-2025 Academic Year |
| Term | Spring |
| 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 Instructor |
1 |
Course Goal / Objective
The aim of this course is to develop a holistic and critical approach to the subject of movements in cinema, to discuss the classification, perceptions and expectations about the concept of movement today by addressing current movements from various perspectives.
Course Content
Since the late 1990s and early 2000s, new cinematic conceptions, digitalization, debates on genre cinema and approaches to sexual identity in different countries have led to the emergence of many movements. The new generation of directors in countries such as Mexico, Romania and Greece, New Queer Cinema, minimal experiments in American cinema, efforts to bend and twist the dominant genres in cinema, and an understanding of cinema integrated with internet technologies constitute the main axis of these innovations.
Course Precondition
None
Resources
Badley, L., Palmer, R.B., Schneider, J. (2016). Dünya Sinemasında Akımlar (Çev. S. Yılmaz). İstanbul: Doruk. Clarke, J. (2011). Movie Movements: Films that Changed the World of Cinema. Harpenden: Oldcastle.
Notes
Totaro, D. (2007). Film on the Internet: Cinema on the Electronic Highway. Offscreen, 11(1). Richards, A. (2011). Asya Korku Sineması (Çev. O. Gayretli). İstanbul: Kalkedon. Rogers, A.B. (2015). American Independent Cinema: Rites of Passage and the Crisis Image. Edinburgh: Edinburgh University Press.
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Combines the common parts of cinema movements that show geographically, culturally and aesthetically different characteristics from each other. |
| LO02 | Defines film movements and important directors. |
| LO03 | Analyzes and criticizes films with scientific analysis methods. |
| LO04 | Relates cinema movements to the social events and structures from which these movements emerged. |
| LO05 | Understand and explore audiovisual culture from a global perspective. |
| LO06 | Gives examples of the relationship between modern art movements and cinema movements as an art branch. |
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. | |
| PLO02 | Bilgi - Kuramsal, Olgusal | Graduates use research methods and techniques applied in the field of radio, television and cinema, has theoretical and practical knowledge. | 5 |
| 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 | Graduates are able to question the relationality between radio, television and cinema, technology and society and to comprehend the changing scientific dynamics of the field. | 3 |
| PLO06 | Beceriler - Bilişsel, Uygulamalı | Graduates are able to develop connections between art, aesthetics, law and general culture knowledge related to the field. | 3 |
| PLO07 | Beceriler - Bilişsel, Uygulamalı | Graduates acquire critical thinking and interpretation skills in the field of radio, television and cinema. | 3 |
| PLO08 | Yetkinlikler - Öğrenme Yetkinliği | Graduates are able to lead in environments that require solving problems related to the field; organizes personal, institutional and team work. | |
| PLO09 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates are able to convey current developments and projects carried out in the field with appropriate communication tools. | |
| PLO10 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates can establish the relationship between artistic, social, economic and political developments and the field of radio, television and cinema. | |
| PLO11 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates use the specialized knowledge and problem solving skills acquired in the field in interdisciplinary studies. |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | Movement Concept, Modern Art Movements and Cinema | Clarke, J. (2011). Movie Movements: Films that Changed the World of Cinema. Harpenden: Oldcastle. Badley, L., Palmer, R.B., Schneider, J. (2016). Dünya Sinemasında Akımlar (Çev. S. Yılmaz). İstanbul: Doruk. | Öğretim Yöntemleri: Anlatım |
| 2 | Berlin School | Clarke, D. (2012). Capitalism Has No More Natural Enemies: The Berlin School (T. Ginsberg ve A. Mensch, Ed.). A Companion to German Cinema (134-155). West Sussex: Wiley-Blackwell. | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 3 | New Queer Cinema | Ulusay, N. (2011). Yeni queer sinema: Öncesi ve sonrası. Fe Dergi, 3(1), 1-15. | Öğretim Yöntemleri: Anlatım, Soru-Cevap |
| 4 | Japanese Horror Cinema | Richards, A. (2011). Asya Korku Sineması (Çev. O. Gayretli). İstanbul: Kalkedon. | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 5 | New French Extremity | Palmer, T. (2006). Style and Sensation in the Contemporary French Cinema of the Body. Journal of Film and Video, 58(3), 22-32. | Öğretim Yöntemleri: Anlatım, Soru-Cevap |
| 6 | Mumblecore | Rogers, A.B. (2015). American Independent Cinema: Rites of Passage and the Crisis Image. Edinburgh: Edinburgh University Press. | Öğretim Yöntemleri: Anlatım |
| 7 | Greek Weird Wave | Karalis, V. (2012). A History of Greek Cinema. New York: Continuum. | Öğretim Yöntemleri: Anlatım, Soru-Cevap |
| 8 | Midterm Exam | Lecture notes and reference books | Ölçme Yöntemleri: Yazılı Sınav, Performans Değerlendirmesi |
| 9 | Romanian New Wave | Ieta, R. (2010). The New Romanian Cinema: A Realism of Impressions. Film Criticism, 34(2/3), 22-36. | Öğretim Yöntemleri: Anlatım |
| 10 | New Mexican Cinema | Martin, M.T. (2004). Mexican Cinema and the 'Generation of the 1990s’. Framework: The Journal of Cinema and Media, 45, 115–128. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 11 | New Argentine Cinema | Coşkun, N. (2001). Yeni Arjantin Sineması. Yeni İnsan Yeni Sinema, 11. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 12 | Remodernist Film | Ebert, R. (Haziran 8, 2010). The Remodernist Film Manifesto. https://www.rogerebert.com/roger-ebert/the-remodernist-film-manifesto. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 13 | Pluginmanifesto | Totaro, D. (2007). Film on the Internet: Cinema on the Electronic Highway. Offscreen, 11(1). | Öğretim Yöntemleri: Anlatım, Tartışma |
| 14 | Vulgar Auteurism | Brody, R. (2013). A Few Thoughts on Vulgar Auteurism. https://www.newyorker.com/culture/richard-brody/a-few-thoughts-on-vulgar-auteurism | Öğretim Yöntemleri: Anlatım, Tartışma |
| 15 | Student Presentations | Referenced Articles | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 16 | Final Exam | Lecture notes and reference books | Ölçme Yöntemleri: Yazılı Sınav, Performans Değerlendirmesi |
| 17 | Final Exam | Lecture notes and reference books | Ölçme Yöntemleri: Yazılı Sınav, Performans Değerlendirmesi |
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 | ||