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    GEAR 307 | Course Introduction and Application Information

    Course Name
    Contemporary World Cinema
    Code
    Semester
    Theory
    (hour/week)
    Application/Lab
    (hour/week)
    Local Credits
    ECTS
    GEAR 307
    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 Discussion
    Q&A
    Lecture / Presentation
    National Occupation Classification -
    Course Coordinator -
    Course Lecturer(s)
    Assistant(s) -
    Course Objectives This course aims to introduce students to contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context.
    Learning Outcomes
    #
    Content
    		 PC Sub
    * Contribution Level
    1
    2
    3
    4
    5
    1 Define main themes, key moments and trends in contemporary world cinema from the 1980s onwards.
    2Discuss how world cinema intervenes in debates about, and contributes new understandings to, our formulation of the local, national and the transnational in contemporary film studies.
    3 Compare discourses regarding questions of representation in the context of gender, race, class and sexuality in cinema across different geographies.
    4Analyze key concepts in film studies and how they apply to world cinema.
    5 Discuss meanings of the concepts of local, national and global in their wider implications to film and media studies as well as other disciplines of humanities.
    6 Analyze diverse beliefs, practices, stories, and conditions within a wide range of Western and non-Western Cultures through the representations in the films.
    7Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization.
    8Evaluate complex relationships between national identity and transnational production.
    Course Description This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text. This course combines viewing of films followed by class discussion. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text.

     



    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 Learning Outcome
    1 Introduction
    2 Middle Eastern Cinema: Iran Ten, Abbas Kiarostami, 2002 (94 min) Moore, L. C. (2005) “Women in a Widening Frame: (Cross-) Cultural Projection, Spectatorship and Iranian Cinema” Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33.
    3 Eastern European Cinema: Romania Occident, Cristian Mungiu, 2002 (102 min) Adriana Cordali Gradea (2018) “The rhetoric of leaving, or the mirage of the fetishized West in Cristian Mungiu’s Occident” Journal of European Studies. Volume 48, issue 3-4, page(s): 250-264. Marian Țuțui and Raluca Iacob, “New Romanian Cinema: Geography and Identity” in Edited by Christina Stojanov The New Romanian Cinema. Edinburg University Press. 2021.
    4 Western European Cinema I 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.
    5 Western European Cinema II Head-On, Fatih Akın (2004) Berna Güneli “Chapter Two: Language Use and Dialogue: Multilingualism in Akın’s Head-On” in Güneli (2011) Challenging European Borders: Fatih Akın’s Filmic Visions of Europe, PhD dissertation, The University of Texas at Austin, pp. 96-126.
    6 Subcontinent Cinema: India Slumdog Millionaire (2008) Danny Boyle Ana Cristina Mendes (2010) “Showcasing India Unshining: Film Tourism in Danny Boyle’s Slumdog Millionaire” Third Text, 24:4, 471-479.
    7 The Global South: Burkina Faso Under the Moonlight (2004) Appoline Traoré Lizelle Bisschoff (2010) “Visions of female emancipation: three recent films from West Africa” Journal of African Cinemas, Vol. 2:1, 37-48.
    8 Midterm Exam
    9 Cinema in Australia and New Zealand The Piano (1993) Jane Campion Barbara Klinger (2006) “The art film, affect and the female viewer: The Piano revisited” Screen, Volume 47, Issue 1, Spring 2006, Pages 19–41.
    10 Korean New Wave Parasite (2017) Bong Joon-Ho Schulze, Jonathan (2019) “The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho” Journal of Popular Film and Television, 47:1, 21-29, pp. 21-29.
    11 Japanese Cinema Shoplifters (2018) Hirokazu Kore-eda Erlich, Linda C., (2011). “Kore-eda’s Ocean View” Film Criticism, Vol. 35, No. 2/3, pp.127–146.
    12 Latin America: Mexico Roma (2018) Alfonso Cuarón Sergio de la Mora (2019) “Roma: Reparation versus Exploitation” Film Quarterly 72 (4): 46–53.
    13 Latin America: Brazil Aquarius (2016) Kleber Mendonça Filho Stephanie Dennison (2018) “Intimacy and cordiality in Kleber Mendonça Filho’s Aquarius” Journal of Iberian and Latin American Studies. 24:3, 329-340.
    14 Course Review
    15 Course Review
    16 Final Exam

     

    Course Notes/Textbooks
    Suggested Readings/Materials

     

    EVALUATION SYSTEM

    Semester Activities Number Weighting LO 1 LO 2 LO 3 LO 4 LO 5 LO 6 LO 7 LO 8
    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
    18
    18
    Final Exam
    1
    26
    26
        Total
    120

     

    COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP


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

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

     

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