İKÜ-ECTS

Undergraduate

Faculty of Arts and Design

Main Page / Program Curriculum / FILM LANGUAGE IV

FILM LANGUAGE IV

Course Code	Semester	Course Name	LE/RC/LA	Course Type	Language of Instruction	ECTS
STV4002	4	FILM LANGUAGE IV	0/4/0	CC		4


Course Goals	To enable students to establish the language of film in the creation process by examining the unique narrative forms of films, to produce a project after the applications by proceeding through different examples of Cinema Art.
Prerequisite(s)	Course Code Course Name…
Corequisite(s)	Course Code Course Name…
Special Requisite(s)	The minimum qualifications that are expected from the students who want to attend the course.(Examples: Foreign language level, attendance, known theoretical pre-qualifications, etc.)
Instructor(s)	Assoc. Prof. Cüneyt Gök
Course Assistant(s)	Res. Asst. Buğra Mert Alkayalar
Schedule	Wednesday, 13:00-16.50, 5C-11-13
Office Hour(s)	Instructor name, day, hours, XXX Campus, office number.
Teaching Methods and Techniques	Lecture, Discussion, Practice, Monitoring-Resolution
Principle Sources	Film Dili, R. Edgar-Hunt, J.Marland,S. Rawie, Literatür Yayınları, 2015. Hollywood’un Film Dili, D. Bordwell, Doruk Yayınları, 2016. Aristotales (1990). Poetika. İstanbul: Remzi Kitapevi. Arnheim, Rudolf. (2002). Sanat Olarak Sinema. İstanbul: Öteki Yayınevi Atayman, Veysel (2006). Postmodern Kurtarıcılar. İstanbul: Donkişot Güncel Yayınlar. Abisel, Nilgün (1995). Bir Dünya Nasıl Kurulur, Yüzüncü Yılında Bir Sinema Klasiği. İst. Üni. İltişim Fak., İÜ. Basım Evi ve Film Merkezi. Barthes, Roland (1997). Anlatıların Yapısal Çözümlemesine Giriş, Çev. Mehmet Rıfat, XX. Yüzyılda Dilbilim ve Göstergebilim Kuramları, 2.Temel Metinler. İstanbul: Cogito, Y.K.Y. Barthes, Roland (2005). Göstergebilimsel Serüven, Çev: M.Rifat-S. Rifat. İstanbul: YKY. Barthes, Roland (1992). Camera Lucida. İstanbul: ALTIKIRKBEŞ Bazin, Andre (2000). Sinema Nedir? İstanbul: İzdüşüm. Becker. Ernest (1962). The Birth and Death of Meaning: A Perspective in Psychiatry and Anthrophology. New York: Free Press of Glencoe Betton, Gerard (1986). Sinema Tarihi / Başlangıcından 1986’ya kadar- Yeniyüzyıl kitaplığı Çev: Şirin Tekeli. İstanbul: İletişim Yayınları. Bogue, Ronald (2003). Deleuze on Cinema. Routledge. Bonitzer, Pascal. (2011). Kör Alan ve Dekadrajlar, Çev.I. Yaşar. İstanbul: Metis Yayıncılık. Bonitzer, Pascal (2005). Bakış ve Ses. İstanbul: Metis Yayıncılık. Bordell, David (2002). Intensified Continuity: Visual Style in Contemporary American Film, in Film Quarterly, vol. 55, no. 3. Ceram, C.W(2007). Sinemanın Arkeolojisi. İstanbul: Agora Kitaplığı. Chatman, Seymour (2008). Öykü ve Söylem, Çev. Özgür Yaren. Ankara: Deki Basım Yayım. Campbell, Joseph (2010). Kahramanın Sonsuz Yolculuğu- The Hero with a Thousand Faces, Çev. Sabri Gürses. İstanbul: Kabalcı Yayınevi. Chion, Michel (1992). Bir Senaryo Yazmak. İstanbul: Afa Yayınları. 339 340 Hikayelerden Sinematografik Öykülemeye ANLATMANIN YOLLARI Deleuze, G. & Guattari, F. (2014). A Tousand Plateaus: Capitalism and Schizophrenia (Çev. B. Massumi). London: Bloomsbury. Deleuze, G. (2004). Sinema I: Hareket İmge, Çev. Soner Özdemir. İstanbul: Norgunk. Deleuze, G. ve Guattari, F. (2001). Felsefe nedir? Çev. T. Ilgaz. İstanbul: Y.K.Y Doğan, Mehmet (1975). 100 Soruda Estetik. İstanbul: Gerçek Yayınevi. Dora, Serkan (2003). Büyüyen Fotoğraf Küçülen Sosyoloji. İstanbul: Babil Yayınları. Eliade, Mircae (1993). Mitlerin Özellikleri, Çev. Sema Rifat. İstanbul: Simavi Yayınları. Fischer, Ernest (1974). Sanatın Gerekliliği, Çev. C. Kopan. İstanbul: e Yayınları. Fiske, John (1987). Television Culture, London: Methuen. Flusser, Vilem (2009). Bir Fotoğraf Felsefesine Doğru, Çev. İhsan Derman. İstanbul: Haylabaz Kitap. Gök, Cüneyt (2007). Sinema ve Gerçeklik. Beykent Üniversitesi Sosyal Bilimler Dergisi 1 / 2 Gök, Cüneyt (2016). Değişen İmgeler ve Temsiliyet. AURUM, İstanbul Kemerburgaz Üniversitesi Sosyal Bilimler Dergisi Cilt1, Sayı2 Gök, Cüneyt (2016). Resim ve Fotoğraf Sanatında Portre Geleneğinden Selfie’ye. Medeniyet Sanat. Cil2, Sayı1 Hauser A. (1995). Sanatın Toplumsal Tarihi, Çev. Yıldız Gölönü. İstanbul: Remzi Kitabevi. Jung, Carl Gustav (2003). Dört Arketip. İstanbul: Metis Yayınları. Lotman, Yuriy, M. (2012). Sinema Göstergebilimi. Ankara: Nirengi Yayıncılık. Lotman, Yuriy M. (1999). Sinema Estetiğinin Sorunları/Film Semiotiğine Giriş. İstanbul: Öteki Yayınevi. Mascelli, Joseph V. (2002). Sinemanın Beş Temel Öğesi. İstanbul: İmge Kitapevi Monaco, James (2003). Bir Film Nasıl Okunur?, “Çev. Ertan Yılmaz, İstanbul: Oğlak yayınları. Monaco, James (2006). Yeni Dalga. İstanbul: +1 kitap Nabokov, Vladimir (2014). Edebiyat Dersleri. Çevirmen: Ayşe Batur, Fatih Özgüven. İstanbul: İletişim Yayıncılık. Nutku, Özdemir (1976). Türkiye’de Brecht. İstanbul: Tiyatro 76 yayınları. Kaynakça 341 Oskay, Ünsal (1995). Popüler Kültür Açısından Çağdaş Fantazya, Bilim Kurgu ve Korku Sineması. İstanbul: Der Yayınevi. Ögel, Bahaeddin (1989). Türk Mitolojisi Cilt 1. Ankara: Türk Tarih Kurumu. Parkan, Mutlu (2005). Brecht Estetiği ve Sinema. İstanbul: Donkişot Güncel Yayınlar. Pezella, Mario (2006). Sinemada Estetik, Ankara: Dost Kitabevi Propp, Vladmir (1985). Masalın Biçimbilimi, Çev. Mehmet Rifat-Sema Rifat. İstanbul: B/F/S Yayınları Robinson, Ken (2003). Yaratıcılık, Aklın Sınırlarını Aşmak, Çev. Nihal Geyran Koldaş, İstanbul: Kitap Yayınevi. Sokolov, Aleksey G. (2006). Sinema ve Televizyonda Görüntü Kurgusu, Türkçesi: Semir Aslanyürek, İstanbul: Agora Sözen, Mustafa (2008). Anlatı Mesafesi-Anlatı Perspektifi Kavramları, Sinematografik Anlatı ve Örnek Çözümlemeler, ZKÜ Sosyal Bilimler Dergisi, Cilt 4, Sayı 8. Şener, Sevda (2001). Yaşamın Kırılma Noktalarında Dram Sanatı, Ankara: Dost Yayınevi. Ünal, Yörükhan (2008). Dram Sanatı ve Sinema, Anlatım Olanakları ve Sınırlılıkları, İstanbul: Hayalet Kitap. Vogler, Cristopher (2009). Yazarın Sonsuz Yolculuğu. İstanbul: Okyanus Yayınevi. Voytilla, Stuart (1999). Myth And Movies, Michael Wiese Productions Zaltman, G. ve Coulter, R.H. (1995). Seeing the voice of the customer: metaphor-based advertising research. Journal of Advertising Research, July-Aug,.
Other Sources


Course Schedules
Week	Contents	Learning Methods
1. Week	Image and Meaning- Image Language and Visual Expression	Oral presentation
2. Week	Cinema and Semiotics The Construction of Cinematographic Space - Sample Films	Oral presentation
3. Week	Classical narrative, Contemporary Cinema and Postmodern Narrative structures Fiction and Documentary Cinema	Oral presentation
4. Week	Metaphorical Expression Techniques	Oral presentation
5. Week	Basic Codes of Film Language Narrative Tools, Techniques and Cinematography rules	Oral presentation
6. Week	Editing (Image and Sound)	Oral presentation
7. Week	Midterm Exam
8. Week	Plan, Plan Sequence, Scene and Sequence	Oral presentation
9. Week	Cut - Cut (jump cut, match cut) and rhythm	Oral presentation
10. Week	Punctuation marks of cinema - Transitions	Oral presentation
11. Week	Space and Light - Light and metaphor	Oral presentation
12. Week	Depth of field and use of sharpness	Oral presentation
13. Week	Time laps, Flow motion, Slow motion, Freeze Frame etc. in Film Language Usage	Oral presentation
14. Week	Final Exam
15. Week
16. Week
17. Week


Assessments
Evaluation tools	Quantity	Weight(%)
Midterm(s)	1	40
Homework / Term Projects / Presentations	1	10
Final Exam	1	50

Program Outcomes
PO-1 Communication, art and culture related concepts to be priorities, all kinds of definitions can berelated to different areas.
PO-2 Interpret technological developments and related artistic and cultural perceptions
PO-3 Will be able to understand contemporary / contemporary cinema and television practices.
PO-4 Will be able to analyze the organic relationship between art, communication and society.
PO-5 Will be able to produce works that will learn the creative process and bring creativity to the foreground
PO-6 It will be able to work creatively, flexibly and independently in a disciplined and self-created line.
PO-7 Will be able to use the tools and equipment necessary for their profession in the right place and at the right time and will be able to implement their projects within the determined time.
PO-8 Will be able to express his / her creative ideas using visual messages.
PO-9 They will be able to give original products in different interdisciplinary fields like animation, photography, cinema.
PO-10 He will have experience in film management, screenplay, cinematography and editing.
PO-11 Will be able to prepare visual effects for cinema and television using computer based applications.
PO-12 He will have experience in acting, mimicry, dramatic improvisation.
PO-13 Be open to innovations in the field of mass communication and adapt to innovations in the field.
PO-14 It will be able to produce projects with experienced experts in national and international areas.
PO-15 Competitions, exhibitions, festivals, seminars etc. in national and international areas. will participate in the events.

Learning Outcomes
LO-1 The ability build a perspective on narrative/documentary/experimental film making
LO-2 The ability connect different film languages to each other
LO-3 The opportunity to work in group projects, understand group dynamics, ethics and responsibility
LO-4 To be able to work with short deadlines and develop necessary skills to produce quick and practical solutions
LO-5 To practice the learning outcome with a short film

Course Assessment Matrix:

Program Outcomes - Learning Outcomes Matrix
PO 1 PO 2 PO 3 PO 4 PO 5 PO 6 PO 7 PO 8 PO 9 PO 10 PO 11 PO 12 PO 13 PO 14 PO 15