FACULTY OF BUSINESS

Department of Business Administration

GEAR 310 | Course Introduction and Application Information

Course Name
Film Seminar: A Cinema in the Shade II
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
GEAR 310
Fall/Spring
3
0
3
4

Prerequisites
None
Course Language
English
Course Type
Service Course
Course Level
First Cycle
Mode of Delivery -
Teaching Methods and Techniques of the Course -
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce students to films that have an important place in film history and yet have low visibility in the framework of commercial cinema, and to enable the students to acquire film culture.
Learning Outcomes The students who succeeded in this course;
  • describe the significant works of cinema in general
  • discuss the films they will see
  • classify films in cinema history
  • compare films in their relation to the structure of the cinematic institution that produced them
  • analyze these works in the context of their socio-cultural milieu
  • contrast cinematic traditions in terms of narrative, technique, authorial styles
Course Description This is the second of a series of courses, introducing and screening films crucial to forming film culture and not readily available elsewhere. The course includes canonic, experimental, avant-garde (commercial or non-commercial) examples of early cinema, American studio films, European art films, world cinema. There will be one midterm and one final exam.

 



Course Category

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
2 Postmodern Dystopia Screening Blade Runner, Ridley Scott (1982) Giuliana Bruno “Ramble City: Postmodernism and Blade Runner” October, Vol. 41 (Summer, 1987), pp. 61-74.
3 Essay Film Screening Sans Soleil, Chris Marker (1983) David Montero “Film also ages: time and images in Chris Marker's Sanssoleil”, Studies in French Cinema, 6:2, 2006, pp. 107-115. Carol Mavor “Chris Marker’s Sans Soleil” Art History. Vol.30 No.5 (Nov 2007), pp.738-756.
4 American Independent Cinema Screening Stranger Than Paradise, Jim Jarmusch (1984) Richard Linnett “As American as You Are: Jim Jarmusch and Stranger than Paradise” Cinéaste, Vol. 14, No. 1 (1985), pp. 26-28. Jamie Sexton. Stranger Than Paradise. Wallflower P, pp. 28-51.
5 New German Cinema Screening Wings of Desire, Wim Wenders (1987) David Caldwell & Paul Rea “Handke’s and Wenders’ Wings of Desire. Transcending Postmodernism” The German Quarterly; Winter 1991; 64 (1), pp.46-54. Anton Kaes “The New German Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 614-627.
6 Cinéma du Look Screening Nikita, Luc Besson (1990) Sue Harris, “Cinema du Look,” European Cinema, ed. Elizabeth Ezra. Oxford University Press. 2004. pp.219-233.
7 New Iranian Cinema Screening Close-up, Abbas Kiarostami (1990) Hamid Naficy “Iranian Cinema” in The Oxford History of World Cinema, G. Nowell-Smith (Ed), Oxford University Press, 1996, pp. 672-678. Godfrey Cheshire “Where Iranian Cinema Is” Film Comment, Vol. 29, No. 2 (MARCH–APRIL 1993), pp. 38-43. Phillip Lopate “Kiarostami Close Up” Film Comment, Vol. 32, No. 4 (JULY-AUGUST 1996), pp. 37-40.
8 MIDTERM EXAM
9 Northern European Farce Screening The Match Factory Girl, Aki Kaurismaki (1990) Bert Cardullo “Finnish Character: An Interview with Aki Kaurismäki”Film Quarterly, Vol. 59, No. 4 (Summer 2006), pp. 4-10. Sanna Kivimaki, “Working-class girls in a welfare state: Finnishness, social class and gender in Aki Kaurismäki's Workers' Trilogy (1986-1990)” Journal of Scandinavian Cinema, Volume 2, Number 1, 31 January 2012, pp. 73-88. Jonathan Romney “Last Exit to Helsinki: The Bleak Comedic Genius of Aki Kaurismäki, Finland’s Finest” Film Comment, Vol. 39, No. 2 (MARCH/APRIL 2003), pp. 43-45, 47.
10 Eastern European Cinema Screening Red, Krzysztof Kieslowski(1994) Coates, Paul. “Kieślowski and the Antipolitics of Color: A Reading of the ‘Three Colors’ Trilogy.” Cinema Journal, vol. 41, no. 2, 2002, pp. 41–66.
11 New Asian Cinema Screening Chungking Express, Wong Kar Wai (1994) Raymond Bellour “Chungking Express: Slow ‐ Images ‐ Ahead” in A Companion to Wong Kar‐wai. Ed. Martha Nochimson,John Wiley & Sons, Inc., 2016, pp. 347-352. Chuck Stephens “Time pieces: Wong Kar-Wai and the Persistence of Memory” Film Comment, Vol. 32, No. 1 (Jan-Feb 1996), pp. 12-18.
12 Cinema of the banlieus Screening Le Haine, Mathieu Kassovitz (1995) Amy Siciliano, “La Haine: Framing the ‘Urban Outcasts’” ACME International Journal for Critical Geographies, Vol. 6 No. 2. 2007, pp.211-230.
13 Migrant and Diasporic Cinema Screening Head-On, Fatih Akın (2004) Daniela Berghahn “No place like home? Or impossible homecomings in the films of Fatih Akın” New Cinemas: Journal of Contemporary Film, Volume 4, Number 3, Feb 2006, pp. 141-157.
14 Postcolonial European Cinema Screening Caché, Michael Haneke (2005) Nancy E. Virtue “Memory, Trauma, and the French-Algerian War: Michael Haneke's Caché (2005)” Modern & Contemporary France, 19:3. 2011, pp. 281-296.
15 Review of the semester
16 FINAL EXAM

 

Course Notes/Textbooks
Suggested Readings/Materials

Geoffrey Nowell-Smith. The Oxford History of World Cinema. Oxford University Press, 1999.

 

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
20
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project
Seminar / Workshop
Oral Exams
Midterm
1
30
Final Exam
1
50
Total

Weighting of Semester Activities on the Final Grade
3
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
2
28
Field Work
0
Quizzes / Studio Critiques
0
Portfolio
0
Homework / Assignments
0
Presentation / Jury
0
Project
0
Seminar / Workshop
0
Oral Exam
0
Midterms
1
17
17
Final Exam
1
27
27
    Total
120

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to solve problems with an analytical and holistic viewpoint in the field of business administration.

2

To be able to present the findings and solutions to the business problems in written and oral formats.

3

To be able to interpret the application of business and economic concepts, and philosophies at the national and international levels.

4

To be able to use innovative and creative approach for real-life business situations.

5

To be able to demonstrate leadership skills in different business situations.

6

To be able to interpret the reflections of new technologies and softwares to business dynamics.   

7

To be able to integrate knowledge gained in the five areas of business administration (marketing, production, management, accounting, and finance) through a strategic perspective.

8

To be able to act in accordance with the scientific and ethical values in studies related to business administration.

9

To be able to work efficiently and effectively as a team member.

10

To be able to have an ethical perspective and social responsiveness when making and evaluating business decisions.

11

To be able to collect data in the area of business administration and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

12

To be able to speak a second foreign at a medium level of fluency efficiently.

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest

 


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