IZMIR CINEMAS WILL REVIVE
Film industry has been addressed at the “Revive Cinema in Izmir Again!” themed panel that took place on Thursday, December ...
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Department of Radio and Tv Programming (Turkish)
RTV 231 | Course Introduction and Application Information
| Course Name |
Film Critisism
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
RTV 231
|
Fall/Spring
|
3
|
0
|
3
|
3
|
| Prerequisites |
None
|
|||||
| Course Language |
Turkish
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
Short Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionPractical demonstrationLecture / Presentation | |||||
| National Occupation Classification | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce and teach film criticism and methods which are an important element in the evaluation of the cinema art. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | It includes the approach of film criticism, historical criticism, auteur criticism, semiotical criticism, sociological criticism, ideological criticism, psychoanalytic criticism and feminist criticism. |
| Related Sustainable Development Goals |
|
|
|
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 to the course | |
| 2 | A General View on the Art of Cinema | Andre Bazin, Sinema Nedir?, Doruk Publishing, 2011. ISBN: 9789755535425 pp.15-31 |
| 3 | The concept of criticism, criticism in the general sense, criticism in the fine arts. | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp.1-11 |
| 4 | Criticism in cinema, the duties of film criticism, method in criticism | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 12-17 |
| 5 | Types of criticism in cinema and methods of film criticism | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 19- 38 |
| 6 | Watching a film for Classical Criticism Method exercise | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 19- 38 |
| 7 | Semiotic approach to film criticism | Roland Barthes, Göstergebilimsel Serüven, Yapı Kredi Publishing, 2. Edition, 1993. ISBN: 9753631316 pp. 23-77 Peter Wollen, Sinemada Göstergeler ve Anlam, Metis, 3. Edition, 2008. ISBN: 9789753424363 pp. 104- 138 |
| 8 | Midterm | |
| 9 | Psychoanalysis and film criticism | Seçil Büker- Y. Gürhan Topçu, Sinema: Tarih-Kuram-Eleştiri, Kırmızı Kedi, 2010. ISBN: 9789944756235 pp. 205-267 |
| 10 | Introduction to feminist criticism | Anneke Smelik, Feminist Sinema ve Film Teorisi, Agora Kitaplığı, 2006. ISBN: 9786050060188 pp. 1-60 |
| 11 | Sociological criticism | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 19- 38 |
| 12 | Ideological criticsm | Andrew M. Butler, Film Çalışmaları, Kalkedon, 2011. ISBN: 9786055679767 pp. - 131-143 |
| 13 | Auteur Criticism | Roland Barthes, Göstergebilimsel Serüven, Yapı Kredi Publishing, 2. Edition, 1993. ISBN: 9753631316 pp. 68-104 Seçil Büker- Y. Gürhan Topçu, Sinema: Tarih-Kuram-Eleştiri, Kırmızı Kedi, 2010. ISBN: 9789944756235 pp. 277-316 |
| 14 | Postmodern Criticism-1 | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 19- 38 |
| 15 | Postmodern Criticism-2 | Esra Biryıldız, Örneklerle Türk Film Eleştirisi, Beta, 2002. ISBN: 9752951791 pp. 19- 38 |
| 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 | ||
| Presentation / Jury |
1
|
20
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam |
1
|
40
|
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
60
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
40
|
| 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 |
16
|
2
|
32
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
1
|
20
|
20
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
15
|
15
|
| Final Exam |
1
|
25
|
25
|
| Total |
140
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
|||||
|
1
|
2
|
3
|
4
|
5
|
|||
| 1 |
To be able to define the historical development process, fundamental principles, and theories of Radio and Television Programming, and explain the basic principles of audio-visual storytelling. |
-
|
-
|
-
|
-
|
-
|
|
| 2 |
To be able to utilize technical equipment and software requiring expertise in the field of Radio and Television Programming according to contemporary techniques. |
-
|
-
|
-
|
-
|
-
|
|
| 3 |
To be able to describe the pre-production research of an audio-visual work, scriptwriting, production planning, camera usage, sound recording, lighting setup, and post-production editing design at a fundamental level and apply at least one of them at an advanced level. |
-
|
-
|
-
|
-
|
-
|
|
| 4 |
To be able to apply standard video shooting and sound recording indoors and outdoors within the scope of a production in teamwork. |
-
|
-
|
-
|
-
|
-
|
|
| 5 |
To be able to explain the national and universal values, professional and ethical principles, and legal regulations required in radio-television broadcasting. |
-
|
-
|
-
|
-
|
-
|
|
| 6 |
To be able to evaluate audio-visual outputs based on technical and methodological criticism. |
-
|
-
|
-
|
-
|
-
|
|
| 7 |
To be able to generate creative and critical approaches and projects suitable for the broadcasting platform and selected media, taking responsibility in individual or teamwork. |
-
|
-
|
-
|
-
|
-
|
|
| 8 |
To be able to consider occupational safety principles while working in media, production, and press-broadcasting fields. |
-
|
-
|
-
|
-
|
-
|
|
| 9 |
To be able to apply the knowledge gained in classes within the scope of an internship in relevant job fields. |
-
|
-
|
-
|
-
|
-
|
|
| 10 |
To be able to follow the information in the field and communicate with colleagues by using English at the general level of European Language Portfolio A2. |
-
|
-
|
-
|
-
|
-
|
|
| 11 |
To be able to possess interdisciplinary knowledge in artistic, cultural, and social issues related to communication fields and programs. |
-
|
-
|
-
|
-
|
-
|
|
| 12 |
To be able to direct their learning towards an advanced educational level by keeping track of technological changes and innovations, considering a lifelong learning vision. |
-
|
-
|
-
|
-
|
-
|
|
| 13 |
To be able to analyze the universal and social dimensions and legal consequences of their professional work in the field concerning human rights, cultural diversity, environmental issues, public interest, and public service. |
-
|
-
|
-
|
-
|
-
|
|
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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