TÜRKÇE
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Information
| Code | RTST709 |
| Name | Cinema Archeology |
| Term | 2023-2024 Academic Year |
| Term | Fall |
| Duration (T+A) | 3-0 (T-A) (17 Week) |
| ECTS | 6 ECTS |
| National Credit | 3 National Credit |
| Teaching Language | Türkçe |
| Level | Yüksek Lisans Dersi |
| Type | Normal |
| Mode of study | Yüz Yüze Öğretim |
| Catalog Information Coordinator | |
| Course Instructor |
1 |
Course Goal / Objective
The evolution of media technologies and practices beginning in the 19th century in relation to contemporary digital art practices. In this context, the study of cinema as a technological and cultural concept from its inception to the present day, and its anachronistic evaluation with a deterministic and materialist approach. Special focus on the reconstruction of the social and artistic possibilities of lost and old media technologies.
Course Content
Today, the multiple nature of the film viewing experience and the technological possibilities shedding light on the unknown and unexplored points of the history of cinema open the consistency of film as an object to discussion and semantically expand it. At this point, it becomes necessary to adapt the media archaeology approach to the field of cinema. Media archaeology studies contemporary media culture by investigating past media technologies and creative media practices. By opening the black boxes of reconfigured or completely forgotten devices, media and approaches, it aims to reveal new contexts instead of a producer-consumer approach.
Course Precondition
No
Resources
Parikka, J. (2017). Medya Arkeolojisi Nedir? (Çev. E. Kılıç). İstanbul: KÜY. Meram, C.W. (2007). Sinemanın Arkeolojisi Çev. H. Aydın. İstanbul Agora. Şahin, S.B. (2022). Medeniyet ve İletişimin Arkeolojisi, Cinius Yayınları. Elsaesser, T. (2016). Film History as Media Archaeology: Tracking Digital Cinema. Amsterdam: Amsterdam University Press. Huhtamo, E. (2013). Illusions in Motion: Media archaeology of the moving panorama and related spectacles. Massachussets: MIT Press.
Notes
Elsaesser, T. (2016). Film History as Media Archaeology: Tracking Digital Cinema. Amsterdam: Amsterdam University Press. Huhtamo, E. (2013). Illusions in Motion: Media archaeology of the moving panorama and related spectacles. Massachussets: MIT Press. Parikka, J. (2015). A Geology of Media. Minneapolis: University of Minneapolis. Pomerance, M., Palmer, R.B. (2016). Thinking in the dark: Cinema, theory, practice.New Jersey: Rutgers University Press.
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Explores digital cultures within the framework of media history. |
| LO02 | Gains the ability to compare societal myths, hopes and concerns about digital media technologies with past technologies. |
| LO03 | Compare and contrast the common and different elements between new and old media. |
| LO04 | Identify political, social and cultural practices through media. |
| LO05 | Criticize the traditional narrative of film history within the context of media archaeology. |
Relation with Program Learning Outcome
| Order | Type | Program Learning Outcomes | Level |
|---|---|---|---|
| PLO01 | Bilgi - Kuramsal, Olgusal | Graduates have the knowledge of thinking in different fields of social sciences and adapting them into their own specialized applications and research. | 4 |
| PLO02 | Bilgi - Kuramsal, Olgusal | Graduates use research methods and techniques applied in the field of radio, television and cinema, has theoretical and practical knowledge. | 5 |
| PLO03 | Bilgi - Kuramsal, Olgusal | Graduates have knowledge of art, aesthetics, law and general culture related to the field. | 3 |
| PLO04 | Bilgi - Kuramsal, Olgusal | Graduates can comprehend the connections of radio, television and cinema with society and culture. | 4 |
| PLO05 | Bilgi - Kuramsal, Olgusal | Graduates are able to question the relationality between radio, television and cinema, technology and society and to comprehend the changing scientific dynamics of the field. | 4 |
| PLO06 | Beceriler - Bilişsel, Uygulamalı | Graduates are able to develop connections between art, aesthetics, law and general culture knowledge related to the field. | 3 |
| PLO07 | Beceriler - Bilişsel, Uygulamalı | Graduates acquire critical thinking and interpretation skills in the field of radio, television and cinema. | 5 |
| PLO08 | Yetkinlikler - Öğrenme Yetkinliği | Graduates are able to lead in environments that require solving problems related to the field; organizes personal, institutional and team work. | |
| PLO09 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Graduates are able to convey current developments and projects carried out in the field with appropriate communication tools. | |
| PLO10 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates can establish the relationship between artistic, social, economic and political developments and the field of radio, television and cinema. | 4 |
| PLO11 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates use the specialized knowledge and problem solving skills acquired in the field in interdisciplinary studies. |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | Introduction: What is Media Archaeology? Definitions and Concepts | İlker Erdoğan-Medya Arkeolojisi: Disipline Edilmemiş Bir Disiplini Tartışmak, Moment Dergi, s. 202-218. Semay Buket Şahin - Medya Teknolojileri Kapsamında Medya Arkeolojisi Üzerine Bir İnceleme, s. 64-86. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 2 | Media Devices, Visual Culture and Development of Communication Process | Semay Buket Şahin - Medya Teknolojileri Kapsamında Medya Arkeolojisi Üzerine Bir İnceleme, s. 5-44. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 3 | Concepts of Technological Determinism, Psycho-Technology, New Materialism | Semay Buket Şahin - Medya Teknolojileri Kapsamında Medya Arkeolojisi Üzerine Bir İnceleme, s. 44-64, 78-80. Jussi Parikka-Medya Arkeolojisi Nedir?, s. 87-119. | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 4 | Other Media: Imaginary and Zombie | Jussi Parikka-Medya Arkeolojisi Nedir?, s. 61-87, 119-145. | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 5 | Archival Dynamics in Media Archaeology | Jussi Parikka-Medya Arkeolojisi Nedir?, s. 145-171. | Öğretim Yöntemleri: Anlatım, Tartışma |
| 6 | Digital Culture and Media Archaeology | Jussi Parikka-Medya Arkeolojisi Nedir?, s. 199-211. | Öğretim Yöntemleri: Anlatım, Tartışma, Soru-Cevap |
| 7 | Examples of Methodology for Media Archaeology | Jussi Parikka-Medya Arkeolojisi Nedir?, s. 171-189. | Öğretim Yöntemleri: Anlatım, Soru-Cevap |
| 8 | MidTerm Exam | Lecture notes and reference books | Ölçme Yöntemleri: Yazılı Sınav, Performans Değerlendirmesi |
| 9 | Pre-Cinema and Primitive Cinema Tools of Film History | CW Meram-Sinemanın Arkeolojisi | Öğretim Yöntemleri: Anlatım |
| 10 | Basic Texts in the Archaeology of Cinema | Walter Benjamin-Teknik Olarak Yeniden Üretilebilirlik Çağında Sanat Eseri Tom Gunning-Atraksiyonlar: Nasıl Ortaya Çıktı?, sinecine, s. 135-143. Tom Gunning - Atraksiyon[lar] Sineması: Erken Dönem Sinema, Seyircisi ve Avangart, sinecine, s. 145-153. Francesco Casetti-Sinemasal Deneyim, sinecine, s. 81-93. | Öğretim Yöntemleri: Anlatım, Alıştırma ve Uygulama |
| 11 | Cinema Archeology with Selected Films | Richard Grusin-Post Cinematic Atavism, Post-Cinema, s. 646-665. Filmler: The Artist (2011, yön. Michel Hazanavicius, Hugo (2011, yön. Martin Scorsese) | Öğretim Yöntemleri: Anlatım, Tartışma |
| 12 | Digital Cinema Theory and Screen Archaeology | Hakan Erkılıç-Dijital Sinema Teorisi Üzerine: Akışkan Sinema ve Akışkan Sinema Teorisi, Sinefilozofi, s. 56-72. Lev Manovich-Dijital Sinema Nedir?, Post-Sinema, s. 20-51. Robert Stam-Sinema Teorisine Giriş, Ayrıntı Yay. Lev Manovich-An Archeology of a Computer Screen | Öğretim Yöntemleri: Anlatım, Tartışma |
| 13 | Screen and Cinema as Archive: Algorithmic, Vertical, Desktop Film | Batu Anadolu&Emre Koparan-Film Biçemi Açısından Dikey Sinema: The Stunt Double ve Glass House Filmlerinin Analizi, TOJDAC, 256-272. Batu Anadolu-Makineler Film Yapmayı Düşler mi?: Jan Bot Örneği, Sinefilozofi, 682-703. Örnek Filmler: The Stunt Double (2020, yön. Damien Chazelle), Glass House (2015, yön. Zoe Beloff), 8 Mart, 2020: Bir Günce (2022, yön. Fırat Yücel) | Öğretim Yöntemleri: Anlatım, Soru-Cevap |
| 14 | Post-Cinema and Archaeology | Julia Leyda&Shane Denson-Post-Sinema, Notabene | Öğretim Yöntemleri: Anlatım |
| 15 | Project Presentation and Discussion | Lecture notes and reference books | Öğretim Yöntemleri: Anlatım, Örnek Olay |
| 16 | Final Project presentations | Lecture notes and reference books | Ölçme Yöntemleri: Proje / Tasarım, Performans Değerlendirmesi |
| 17 | Final Project | Lecture notes and reference books | Ölçme Yöntemleri: Proje / Tasarım, Performans Değerlendirmesi |
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 | 5 | 70 |
| Assesment Related Works | |||
| Homeworks, Projects, Others | 0 | 0 | 0 |
| Mid-term Exams (Written, Oral, etc.) | 1 | 15 | 15 |
| Final Exam | 1 | 30 | 30 |
| Total Workload (Hour) | 157 | ||
| Total Workload / 25 (h) | 6,28 | ||
| ECTS | 6 ECTS | ||