TÜRKÇE
ENGLISH
Information
| Code | AIS430 |
| Name | Cinema and Literature |
| Term | 2022-2023 Academic Year |
| Semester | 8. Semester |
| Duration (T+A) | 3-0 (T-A) (17 Week) |
| ECTS | 5 ECTS |
| National Credit | 3 National Credit |
| Teaching Language | Türkçe |
| Level | Lisans Dersi |
| Type | Normal |
| Label | E Elective |
| Mode of study | Yüz Yüze Öğretim |
| Catalog Information Coordinator | Doç. Dr. AYDIN ÇAM |
| Course Instructor |
İlker ZOR
(A Group)
(Ins. in Charge)
|
Course Goal / Objective
The purpose of this course, a narrative literary texts in other films and television transmission platform, how the process takes place, taking into account the theoretical framework to explain the issue.
Course Content
Within the framework of cinema as a form of narrative theory, literary works, films and television adaptation of the novel and expressive language issues such as changing the process is remarkable. Most of the sources for the cinema or even "the combination of all the arts" is called. Since the times of cinema began to make itself felt without a doubt the most powerful and seamless coexistence has been literature. So much so that neither in the movie nor the literary theater edebiyatsız survived over the years. As the primary source of the difference between the two languages. Cinema texts, the sequences, but is a sequence of images. For this reason, cinema and literature, the narrative is divided into terms of languages. Shakespeare's "our stage is short, two-hour traffic," said, real-time cross-section of the movie is limited. Literary texts according to the request of the reader ends up finish to finish them. Although it is limited to a shorter term of expression does not have the pictorial possibilities of literature is the nature of the movie. Things can not be transferred to the article given image.
Course Precondition
none
Resources
Cartmell, Deborah. 2012. A Companion to Literature, Film, and Adaptation. Malden ve Oxford: Wiley–Blackwell Publishing Ltd. Cartmell, Deborah ve Imelda Whelehan. 2007. The Cambridge Companion to Literature on Screen. Cambridge: Cambridge University Press.
Notes
Çakır, Süreyya. 2013. Siyasal/İdeolojik Göstergeler Açısından Metinlerarasılık: Kemalist İdeolojinin Temel Belirteçlerinin Sinema ve Edebiyattaki Uzantıları. folklor/edebiyat, 19 (75), 37–50. Çakır, Süreyya. 2019. Sinema ve Edebiyat İlişkisine Yöntemsel Bir Bakış. SineFilozofi, Özel Sayı, 437–452. Kırel, Serpil. 2004. Uyarlamak mı? Uyumlanmak mı? : “Tersyüz - Adaptation”. Galatasaray Üniversitesi İlet-i-şim Dergisi, 1, 115–134. Murray, Simone. 2012. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation: New York ve Londra: Routledge. Stam, Robert. 2004. Literature Through Film: Realism, Magic, and The Art of Adaptation. Malden ve Oxford: Wiley–Blackwell Publishing Ltd. Stam, Robert ve Alessandra Raengo. 2004a. Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Malden ve Oxford: Wiley–Blackwell Publishing Ltd. Stam, Robert ve Alessandra Raengo. 2004b. A Companion to Literature and Film. Malden ve Oxford: Wiley–Blackwell Publishing Ltd.
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Defines the concepts of story, novel and scenario. |
| LO02 | Compares the product of literature with cinema products. |
| LO03 | It shows the change in the literary product when it turns into a cinema product. |
| LO04 | Analyzes the transitions between literature and cinema. |
| LO05 | Evaluates the effects of literature on cinema. |
| LO06 | Students know the examples of adaptations made from classical literature. |
| LO07 | Students will have information about examples of literary adaptations by getting to know Turkish cinema closely. |
Relation with Program Learning Outcome
| Order | Type | Program Learning Outcomes | Level |
|---|---|---|---|
| PLO01 | Bilgi - Kuramsal, Olgusal | Graduates have advanced theoretical and practical knowledge supported by research methods and techniques applied in the field of radio, television and cinema and other sources. | |
| PLO02 | Bilgi - Kuramsal, Olgusal | Graduates have knowledge about different areas of communication. | 4 |
| PLO03 | Bilgi - Kuramsal, Olgusal | Graduates have knowledge about program production and directing related to audio and visual broadcasting. | 3 |
| PLO04 | Beceriler - Bilişsel, Uygulamalı | Graduates gain skills in writing various forms of scripts and producing programs for cinema, television and radio. | 5 |
| PLO05 | Beceriler - Bilişsel, Uygulamalı | Graduates gain critical thinking and interpretation skills in the field of radio, television and cinema. | 3 |
| PLO06 | Beceriler - Bilişsel, Uygulamalı | Graduates have the knowledge of thinking in different disciplines of social sciences and adapting them to their own specialisation through research. | |
| PLO07 | Beceriler - Bilişsel, Uygulamalı | Graduates gain the ability to plan and organize all kinds of content for audio-visual activities from design to editing and broadcasting. | |
| PLO08 | Beceriler - Bilişsel, Uygulamalı | Graduates establish a connection between art, aesthetics, law and general culture knowledge related to the field. | 4 |
| PLO09 | Beceriler - Bilişsel, Uygulamalı | Graduates have know-how and skills about production and broadcasting technologies. | |
| PLO10 | Yetkinlikler - Bağımsız Çalışabilme ve Sorumluluk Alabilme Yetkinliği | Graduates work both individually and as a team in the field. | |
| PLO11 | Yetkinlikler - Öğrenme Yetkinliği | Graduates are able to follow social problems at national and international level and adapt them to professional studies. | |
| PLO12 | Yetkinlikler - Öğrenme Yetkinliği | Graduates gain the competence of using communication technologies, monitoring changes and continuous self-improvement. | |
| PLO13 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates participate in various social, cultural and artistic activities in the field. | |
| PLO14 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates are able to carry out the tasks expected from him/her as a team member in the applications in his/her field with an interdisciplinary perspective. | |
| PLO15 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates are able to use information and communication technologies together with the computer software required by the field. | |
| PLO16 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates produce visual and audio content with the scientific formation acquired. | |
| PLO17 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates can analyze a film, a script or a television program from a technical, aesthetic and ideological perspective. | 5 |
| PLO18 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates are committed to ethical principles in their professional practice, free from prejudice and against discrimination. | |
| PLO19 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates support the universality of social and cultural rights, gains awareness of social justice, protects cultural heritage. | |
| PLO20 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates prepare working environments such as studio and set in accordance with quality management processes and occupational health/safety. |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | Introduction and presentation of the general framework of the course. | Reading | Öğretim Yöntemleri: Anlatım, Tartışma |
| 2 | The Relationship between Cinema and Literature; A Methodological Approach to the Relationship between Cinema and Literature | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 3 | Literature as a Source of Cinema: Adaptations, Possibilities and Problems | Reading, Watching | Öğretim Yöntemleri: Soru-Cevap, Tartışma |
| 4 | Adaptation Forms: The Relationship between Source Work and Film | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 5 | Novel Adaptations I Reading, Watching and Discussion: Don Quixote (Miguel de Cervantes, 1605-1615) and The Man Who Killed Don Quixote (Terry Gilliam, 2018). Reading, Watching and Discussion: Frankenstein (Mary Shelley, 1823) and Mary Shelley's Frankenstein (Kenneth Branagh, 1994). | Reading, Watching | Öğretim Yöntemleri: Soru-Cevap, Anlatım, Tartışma |
| 6 | Novel Adaptations II Reading, Watching and Discussion: Picnic in Space (Arkadi & Boris Shtrugatsky, 1972) and Stalker (Andrei Tarkovsky, 1979). Reading, Watching and Discussion: The Old Man and the Sea (Ernest Hemingway, 1952) and The Old Man and the Sea (Aleksandr Petrov, 1999). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 7 | Novel Adaptations III Reading, Watching and Discussion: Nothing New on the Western Front (Erich Maria Remarque, 1929) and All Quiet on the Western Front (Lewis Milestone, 1930). Reading, Watching and Discussion: Heart of Darkness (Joseph Conrad, 1899) and Apocalypse Now (Francis Ford Coppola, 1979). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 8 | Mid-Term Exam | Ölçme Yöntemleri: Yazılı Sınav, Ödev |
|
| 9 | Novel Adaptations IV Reading, Watching and Discussion: A Clockwork Orange (Anthony Burgess, 1962) and A Clockwork Orange (Stanley Kubrick, 1971). Reading, Watching and Discussion: Fight Club (Chuck Palahniuk, 1996) and Fight Club (David Fincher, 1999). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 10 | Novel Adaptations V Reading, Watching and Discussion: Trainspotting (Irvine Welsh, 1993) and Trainspotting (Danny Boyle, 1996). Reading, Watching and Discussion: Scent: The Story of a Murderer (Patrick Süskind, 1985) and Perfume: The Story of a Murderer (Tom Tykwer, 2006). | Reading, Watching | Öğretim Yöntemleri: Soru-Cevap, Tartışma, Anlatım |
| 11 | Novel Adaptations VI Reading, Watching and Discussion: Vurun Kahpeye (Halide Edip Adıvar, 1926) and Vurun Kahpeye (Ö. Lütfi Akad, 1949) Vurun Kahpeye (Orhan Aksoy, 1964) Vurun Kahpeye (Halit Refiğ, 1973). Reading, Watching and Discussion: On Fertile Lands (Orhan Kemal, 1954) and On Fertile Lands (Erden Kıral, 1980). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 12 | Novel Adaptations VII Reading, Watching and Discussion: Yılanların Öcü (Fakir Baykurt, 1959) and Yılanların Öcü (Metin Erksan, 1962). Reading, Watching and Discussion: Susuz Yaz (Necati Cumalı, 1962) and Susuz Yaz (Metin Erksan, 1963). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 13 | Theater Play Adaptations I Reading, Watching and Discussion: Romeo and Juliet (William Shakespeare, 1595) and West Side Story (Robert Wise & Jerome Robbins, 1961). Reading, Watching and Discussion: Hamlet (William Shakespeare, 1603) and Hamlet (Michael Almereyda, 2000). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 14 | Theater Play Adaptations II Reading, Watching and Discussion: Macbeth (William Shakespeare, 1606) and Kumonosu-jô (Akira Kurosawa, 1957). Reading, Watching and Discussion: King Lear (William Shakespeare, 1605-1606) and Ran (Akira Kurosawa, 1965). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 15 | Story Adaptations Reading, Watching and Discussion: Violet Valley (Sait Faik Abasıyanık, 1968) and Vesikalı Yârim (Ö. Lütfi Akad, 1968). Reading and Watching: Do Androids Dream of Electric Sheep? (Philip K. Dick, 1968) and Blade Runner (Ridley Scott, 1982). | Reading, Watching | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 16 | Term Exams | Ölçme Yöntemleri: Yazılı Sınav, Ödev |
|
| 17 | Make-up Exams | Ölçme Yöntemleri: Yazılı Sınav, Ödev |
Student Workload - ECTS
| Works | Number | Time (Hour) | Workload (Hour) |
|---|---|---|---|
| Course Related Works | |||
| Class Time (Exam weeks are excluded) | 14 | 3 | 42 |
| Out of Class Study (Preliminary Work, Practice) | 14 | 3 | 42 |
| Assesment Related Works | |||
| Homeworks, Projects, Others | 0 | 0 | 0 |
| Mid-term Exams (Written, Oral, etc.) | 1 | 12 | 12 |
| Final Exam | 1 | 18 | 18 |
| Total Workload (Hour) | 114 | ||
| Total Workload / 25 (h) | 4,56 | ||
| ECTS | 5 ECTS | ||