| Course Objectives: |
Students will explore the traditions and innovations in the history of filmmaking from Hollywood, Europe, Latin America and Asia, and discuss scenario structures, genres, narrative, movements and approaches. The course aims to understand and discuss the important cornerstones of cinema history from the birth of cinema to the eighties. |
| Course Content: |
Starting from the birth of cinema, the course focuses on the history of aesthetics, political, technological, cultural and / or economic aspects in chronological and comparative terms. The course covers the period from 1895 to 1950s, the birth date of cinema. |
| Week |
Subject |
Related Preparation |
| 1) |
Infancy of cinema: 1895-1930 I
The birth of cinema, the relationship between cinema and photography, Lumiere brothers, Melies, Edison and others.
Cinema as a record of truth & cinema as a story telling tool
Movies:
Train station entrance, workers leaving factory (lumiere)
Moon Travel (Melies), Big Train Robbery (Porter) |
. |
| 2) |
Infancy of cinema: 1895-1930 II
First Epic Films and David Griffith
The development of narrative strategies in cinema
Movies:
1-The birth of a nation (Griffith)
2-Intolerance (Griffith) |
. |
| 3) |
Infancy of cinema: 1895-1930 III
Russian cinema and Sergei Eisenstein
Dziga Vertov
Dialectical assembly and Kuleshov experiments
Movies:
1- Battleship of Potemkin (Eisenstein)
2- Man with Camera (Vertov) |
. |
| 4) |
Infancy of cinema: 1895-1930 IV
American cinema and comedy
Buster Keaton against Charlie Chaplin
Slapstick comedy and genre cinema
Movies:
1- Gold Rush (Chaplin)
2- General (Keaton) |
. |
| 5) |
The infancy of cinema: 1895-1930 V
German Expressionists
Gothic fears and postwar crisis
Movies:
1- Dr. Caligari (Wiene)
2- Nosferatu (Murnau) |
. |
| 6) |
Infancy of cinema: 1895-1930 VI
Audio Input to Cinema
First audition movies
Movies:
1- Fritz Lang (M)
2- Hitchcock |
. |
| 7) |
Infancy of cinema: 1895-1930 VII
Surreal cinema
Bunuel and others
Movies:
• Andalusian Dog (Bunuel) |
. |
| 8) |
Mid Term |
. |
| 9) |
Cinema is maturing 1930-1950 I
Orson Welles and Citizen Kane
A new expression language
Hays Codes
Movies Citizen Kane (Welles) |
. |
| 10) |
Cinema is maturing 1930-1950 II
Poetic French Realism
Vigo, Renoir
Movies:
1- L’atalante (Vigo)
2- Rule of the Game (Renoir) |
. |
| 11) |
Cinema is maturing 1930-1950 III
The birth of Propaganda cinema (Riefenstahl)
Nazi and Soyvet cinemas
Movies:
1-Victory of Will, (Riefenstahl)
2-Olimpia, (Riefenstahl)
3- Alexander Nevsky (Eisenstein) |
. |
| 12) |
Cinema is maturing 1930-1950 IV
American Ground Films (Film Noir)
Film:
1- Double İmdennity (Wilder)
2- Third Man (Reed) |
. |
| 13) |
The Cinema Is Maturing 1930-1950 V
Italian New Realists
Movies:
1-Bicycle Thieves (De Sica)
2-Roman Open City (Rosselini) |
. |
| 14) |
Final |
. |
| 15) |
Final |
. |
| 16) |
Final |
. |
| Course Notes / Textbooks: |
Temel Ders Kitabı:
Kemp, Philip, Sinemanın Tüm Öyküsü, Hayalperest yay., İstanbul, 2014
Ek öneriler:
Bordwell, David, Film Sanatı, Deki yay, Ankara,2009, (İlgili bölüm)
Thompson, David, Filmler Hayatımızı Nasıl Etkiler, Alfa yay, İs-tanbul 2014
|
| References: |
Temel Ders Kitabı:
Kemp, Philip, Sinemanın Tüm Öyküsü, Hayalperest yay., İstanbul, 2014
Ek öneriler:
Bordwell, David, Film Sanatı, Deki yay, Ankara,2009, (İlgili bölüm)
Thompson, David, Filmler Hayatımızı Nasıl Etkiler, Alfa yay, İs-tanbul 2014
|
| |
Program Outcomes |
Level of Contribution |
| 1) |
1 To be able to adapt an original screenplay to a shooting script
|
5 |
| 2) |
2 To be able to explain the developments of World and Turkish Cinema |
5 |
| 3) |
3 To be able to know the elements of film grammer and to develop new perspectives about film products |
5 |
| 4) |
4 To be able to learn the logic of editing and to use the programs of editing |
5 |
| 5) |
5 To be able to apply the colour correction and sound design phases |
5 |
| 6) |
6 To be able to understand the concept of story and storytelling |
5 |
| 7) |
7 To be able to complete a short film in a collective way of work |
5 |
| 8) |
8 To be able to appy all the phases of film production |
5 |
ISTANBUL OKAN UNIVERSITY INFORMATION PACKAGE / COURSE CATALOGUE
