TÜRKÇE
ENGLISH
Information
| Code | AIS425 |
| Name | Cinematography |
| Term | 2024-2025 Academic Year |
| Semester | 7. 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 |
| Mode of study | Yüz Yüze Öğretim |
| Catalog Information Coordinator | Dr. Öğr. Üyesi Süleyman Kıvanç TÜRKGELDİ |
| Course Instructor |
Arş.Gör.Dr. İbrahim ZATERİ
(A Group)
(Ins. in Charge)
|
Course Goal / Objective
The aim of the cinematography course is to provide knowledge and skills regarding the application of cinematographic structures in films. It is aimed to understand and discuss the methods of visual thinking and expression with movement at the boundaries of theory and practice.
Course Content
In films, the characteristics of the elements that form the cinematographic structure of the image. The use and characteristics of cinematographic tools. The working logic of image recording tools. The technical processes that form the image and their theoretical relations.
Course Precondition
There is no Pre-requisite
Resources
Öncelikli Kaynaklar: - Ankaralıgil, N. (2015). Çözümleme ve Örneklerle Sinemada Görüntü Düzenleme. Konya: Literatürk Academia Yayınevi. - Bordwell, D. ve Thompson, K. (2012). Film Sanatı Bir Giriş. (Çev: E. Yılmaz, E. S. Onat). Ankara: De Ki Basım Yayım. - Brown, B. (2014). Sinematografi: Kuram ve Uygulama. (Çev: S. Taylaner). İstanbul: Hil Yayınları. - Brown, B. (2017). Sinema ve Videoda Işıklandırma. (Çev: S. Taylaner). İstanbul: Hil Yayınları. - Canikligil, İ. (2020). Dijital Video ile Sinema. İstanbul: Alfa Basım Yayım. - Mascelli, J. V. (2014). Sinemanın 5 Temel Öğesi. (Çev: H. Gür). Ankara: İmge Kitabevi. - Mükerrem, Z. (2012). Sinematografi Üzerine Düşünceler, Kuram ve Uygulamalar. İstanbul: Ayrıntı Yayınları. - Öztürk, L. (2023). Sinemada Renk: A'dan Z'ye Dijital Sinematografi ve Renk Düzenleme. İstanbul: Boğaziçi Yayınları. - Yıldız, S. (2014). Sinematografik Anlatım. İstanbul: Su Yayınevi. Diğer Önemli Kaynaklar: - Arnheim, R. (2009). Görsel Düşünme. (Çev: R. Öğdül). İstanbul: Metis Yayınları. - Goodridge, M., Grierson, T. (2014). Sinematografi, Görüntü Yönetmenliği. (Çev: M. Yalçın). İstanbul: Remzi Kitabevi. - Ranciere, J. (2016). Sinematografik Masal. (Çev: T. Ertuğral). İstanbul: Küre Yayınları.
Notes
E-Kaynaklar: http-1: https://www.sineplusakademi.com/sinematografi-temel-ogeleri/ (Erişim Tarihi: 02.08.2024). http-2: https://sanatyapim.com/gorsel-sanatin-taclandirdigi-sinematografi-nedir/ (Erişim Tarihi: 05.08.2024). http-3: https://filmekipmanlari.com/sinematografi/sinema-tarihinden-sinematografi-ornegi-99-kare/ (Erişim Tarihi: 09.08.2024). http-4: https://www.youtube.com/playlist?list=PLvLlL8ItmnjzNckN2MZJFddcnDVzolQlq (Erişim Tarihi: 14.08.2024). http-5: https://sinekutuphane.wordpress.com/2015/11/07/en-sik-tercih-edilen-10-sinema-teknigi-kullanimi/ (Erişim Tarihi: 16.08.2024). http-6: https://www.kameraarkasi.org/kamera/eniyigoruntuyonetmeniodulleri.html (Erişim Tarihi: 16.08.2024). http-7, 8, 9: Adana Altın Koza Film Festivali, En İyi Görüntü Yönetmeni ödülü: Peter Zeitlinger: Yeni Şafak Solarken (2024, Yön: Gürcan Keltek) https://en.wikipedia.org/wiki/Peter_Zeitlinger https://www.imdb.com/name/nm0954432/ https://www.imdb.com/title/tt22335698/ (Erişim Tarihi: 02.10.2024). http-10, 11, 12: Adana Altın Koza Film Festivali, En İyi Görüntü Yönetmeni ödülü: Orçun Özkılınç: Mavzer (2020, Yön: Fatih Özcan) https://www.imdb.com/name/nm3398116/ https://www.kameraarkasi.org/kamera/kameramanlar/orcunozkilinc.html https://www.imdb.com/title/tt13045506/?ref_=nm_flmg_job_1_cred_t_1 (Erişim Tarihi: 02.10.2024). http-13, 14, 15: Adana Altın Koza Film Festivali, En İyi Görüntü Yönetmeni ödülü: Gökhan Tiryaki: İşe Yarar Bir Şey (2017, Yön: Pelin Esmer) https://tr.wikipedia.org/wiki/G%C3%B6khan_Tiryaki https://www.imdb.com/name/nm1780337/ https://www.imdb.com/title/tt6214084/?ref_=nm_flmg_job_1_cred_t_13 (Erişim Tarihi: 02.10.2024). http-16, 17, 18: Adana Altın Koza Film Festivali, En İyi Görüntü Yönetmeni ödülü: Özgür Eken: Gözetleme Kulesi (2012, Yön: Pelin Esmer)) https://www.kameraarkasi.org/kamera/kameramanlar/ozgureken.html https://www.imdb.com/name/nm2639820/ https://www.imdb.com/title/tt2191332/?ref_=nm_flmg_job_1_cred_t_10 (Erişim Tarihi: 02.10.2024). http-19, 20, 21: Adana Altın Koza Film Festivali, En İyi Görüntü Yönetmeni ödülü: Feza Çaldıran: Gelecek Uzun Sürer (2011, Yön: Özcan Alper) https://tr.wikipedia.org/wiki/Feza_%C3%87ald%C4%B1ran https://www.imdb.com/name/nm0129643/ https://www.imdb.com/title/tt2033997/?ref_=nm_flmg_knf_t_4 (Erişim Tarihi: 02.10.2024). http-22, 23, 24: Antalya Altın Portakal Film Festivali, En İyi Görüntü Yönetmeni ödülü: Ümit Çakmaksoy: Bozkır (2019, Yön: Ali Özel) https://tr.wikipedia.org/wiki/%C3%9Cmit_%C3%87akmaksoy https://www.imdb.com/name/nm9255192/ https://www.imdb.com/title/tt11343842/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 03.10.2024). http-25, 26, 27: Antalya Altın Portakal Film Festivali, En İyi Görüntü Yönetmeni ödülü: Vedat Özdemir: Rauf (2016, Yön: Barış Kaya, Soner Caner) https://www.kameraarkasi.org/kamera/kameramanlar/vedatozdemir.html https://www.imdb.com/name/nm3668064/ https://www.imdb.com/title/tt5280652/?ref_=nm_flmg_job_1_cred_t_20 (Erişim Tarihi: 03.10.2024). http-28, 29, 30: Antalya Altın Portakal Film Festivali, En İyi Görüntü Yönetmeni ödülü: Ercan Özkan: Saç (2010, Yön: Tayfun Pirselimoğlu), Gişe Memuru (2010, Yön: Tolga Karaçelik) https://www.kameraarkasi.org/kamera/kameramanlar/ercanozkan.html https://www.imdb.com/name/nm1270720/ https://www.imdb.com/title/tt1720215/?ref_=nm_flmg_knf_t_4 https://www.imdb.com/title/tt1753866/?ref_=nm_flmg_knf_t_3 (Erişim Tarihi: 03.10.2024). http-31, 32, 33: İstanbul Film Festivali, En İyi Görüntü Yönetmeni ödülü: Cevahir Şahin, Kürşat Üresin (2016): Kalandar Soğuğu (2015, Yön: Mustafa Kara) https://www.kameraarkasi.org/kamera/kameramanlar/cevahirsahin.html https://www.imdb.com/name/nm3203762/ https://www.kameraarkasi.org/kamera/kameramanlar/kursaturesin.html https://www.imdb.com/name/nm7651716/ https://www.imdb.com/title/tt4518234/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 04.10.2024). http-34, 35, 36: İstanbul Film Festivali, En İyi Görüntü Yönetmeni ödülü: Türksoy Gölebeyi: Yeraltı (2012, Yön: Zeki Demirkubuz) https://www.kameraarkasi.org/kamera/kameramanlar/turksoygolebeyi.html https://www.imdb.com/name/nm3447972/ https://www.imdb.com/title/tt1961675/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 04.10.2024). http-37, 38, 39: İstanbul Film Festivali, En İyi Görüntü Yönetmeni ödülü: Barış Özbiçer: Bal (2010, Yön: Semih Kaplanoğlu) https://www.barisozbicer.com/aboutcontact https://www.imdb.com/name/nm0994020/ https://www.imdb.com/title/tt1571724/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 04.10.2024). http-40, 41, 42: Sinema Yazarları Derneği SİYAD Ödülleri, En İyi Görüntü Yönetmeni ödülü: Türksoy Gölebeyi: Okul Tıraşı (2021, Yön: Ferit Karahan) https://www.kameraarkasi.org/kamera/kameramanlar/turksoygolebeyi.html https://www.imdb.com/name/nm3447972/ https://www.imdb.com/title/tt10311018/?ref_=nm_flmg_knf_t_3 (Erişim Tarihi: 04.10.2024). http-43, 44, 45: En İyi Görüntü Yönetmeni Oscar’ı (Akademi Ödülleri): Hoyte van Hoytema(2024): Oppenheimer (2023, Yön: Christopher Nolan) https://en.wikipedia.org/wiki/Hoyte_van_Hoytema https://www.imdb.com/name/nm0887227/ https://www.imdb.com/title/tt15398776/?ref_=nm_flmg_job_1_cred_t_2 (Erişim Tarihi: 04.10.2024). http-46, 47, 48: En İyi Görüntü Yönetmeni Oscar’ı (Akademi Ödülleri): James Friend (2023): Batı Cephesinde Yeni Bir Şey Yok (2022, Yön: Edward Berger) https://en.wikipedia.org/wiki/James_Friend https://www.imdb.com/name/nm2168099/ https://www.imdb.com/title/tt1016150/?ref_=nm_ov_bio_lk (Erişim Tarihi: 04.10.2024). http-49, 50, 51: En İyi Görüntü Yönetmeni Oscar’ı (Akademi Ödülleri): Greig Fraser (2022): Dune: Çöl Gezegeni (2021, Yön: Denis Villeneuve) https://en.wikipedia.org/wiki/Greig_Fraser https://www.imdb.com/name/nm0292132/ https://www.imdb.com/title/tt1160419/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 04.10.2024). http-52, 53, 54: En İyi Görüntü Yönetmeni Oscar’ı (Akademi Ödülleri): Erik Messerschmidt (2021): Mank (2020, Yön: David Fincher) https://en.wikipedia.org/wiki/Erik_Messerschmidt https://www.imdb.com/name/nm0582081/ https://www.imdb.com/title/tt10618286/?ref_=nm_flmg_knf_t_1 (Erişim Tarihi: 04.10.2024). http-55, 56, 57: En İyi Görüntü Yönetmeni Oscar’ı (Akademi Ödülleri): Roger Deakins (2020): 1917 (2019, Yön: Sam Mendes) https://en.wikipedia.org/wiki/Roger_Deakins https://www.imdb.com/name/nm0005683/ https://www.imdb.com/title/tt8579674/?ref_=nm_flmg_knf_t_4 (Erişim Tarihi: 04.10.2024).
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Recognize shooting scales and camera movements. |
| LO02 | It explains the meaning of lens, camera angle, light source and their use with various techniques. |
| LO03 | Have knowledge about light, shadow and depth. |
| LO04 | Evaluates how color and lighting create meaning in cinema. |
| LO05 | Analyzes the cinematographic image from aesthetic, social, communication and historical perspectives. |
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. | |
| PLO03 | Bilgi - Kuramsal, Olgusal | Graduates have knowledge about program production and directing related to audio and visual broadcasting. | 2 |
| PLO04 | Beceriler - Bilişsel, Uygulamalı | Graduates gain skills in writing various forms of scripts and producing programs for cinema, television and radio. | |
| PLO05 | Beceriler - Bilişsel, Uygulamalı | Graduates gain critical thinking and interpretation skills in the field of radio, television and cinema. | |
| 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. | 3 |
| PLO08 | Beceriler - Bilişsel, Uygulamalı | Graduates establish a connection between art, aesthetics, law and general culture knowledge related to the field. | 2 |
| PLO09 | Beceriler - Bilişsel, Uygulamalı | Graduates have know-how and skills about production and broadcasting technologies. | 5 |
| PLO10 | Yetkinlikler - Bağımsız Çalışabilme ve Sorumluluk Alabilme Yetkinliği | Graduates work both individually and as a team in the field. | 4 |
| 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. | 5 |
| 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. | 3 |
| PLO16 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates produce visual and audio content with the scientific formation acquired. | 5 |
| PLO17 | Yetkinlikler - Alana Özgü Yetkinlik | Graduates can analyze a film, a script or a television program from a technical, aesthetic and ideological perspective. | 1 |
| 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. | 4 |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | Introduction: Introduction, Method | There is no preliminary preparation. | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 2 | - What is Cinematography? - Cinema (Conceptual) Tools: Frame, lens, light and color, texture, movement, introduction, point of view. (With film examples). - Plans: Building Blocks of the Scene. (With film examples). - Shooting Scales: Long, general, height, knee, waist, chest, shoulder, head/face, detail plans. (With film examples). - Photographic Image; Tonal Area, Speed of Movement, Perspective. (With film examples). | Students should come to this course with the following readings: - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 1-11), (pp. 16-36). - Ankaralıgil, N. (2015). Image Editing in Cinema with Analysis and Examples. Konya: Literatürk Academia Publishing House. (pp. 137-146). - Bordwell, D. and Thompson, K. (2012). An Introduction to Film Art. (Translator: E. Yılmaz, E. S. Onat). Ankara: De Ki Basım Publishing. (pp. 167-173). - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Gösteri, Tartışma |
| 3 | - Visual Language. Design Principles: Unity, Balance, Visual tension, Rhythm, Proportion, Contrast, Texture, Directionality. (With film examples). - Tools that create a sense of visual depth: Overlay, change of size, vertical position, horizontal position, linear perspective, shortening, chiaroscuro, atmospheric perspective. - Lenses. Depth of Field, Focus. (With film examples). - Lens and frame. (With film examples). | Students should come to this course with the following readings: - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 37-41), (pp. 42-44) - Bordwell, D. and Thompson, K. (2012). An Introduction to Film Art. (Translator: E. Yılmaz, E. S. Onat). Ankara: De Ki Basım Yayım. (pp. 174-185). - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 53-66). - Other relevant sources. | Öğretim Yöntemleri: Anlatım, Gösteri, Tartışma |
| 4 | - Framing, Frame proportions and shape. On-screen and off-screen space. Angle, plane, height and distance of framing. (With film examples). - Moving frame: Pan, tilt, slide, crane shot. Functions of moving frame. (With film examples). - Camera angles. (With film examples). - Camera movements. (With film examples). - Forces of image editing. Various composition rules. - Composition - Balanced composition, unbalanced composition. - Aspect Ratio, Sample rate, Bit depth, Compression, Lens, Image-producing part (Film, CCD, CMOS sensor, etc.), Crop Factor, Recording media, Viewfinder, Focus. | Students should come to this course with the following readings: - Bordwell, D. and Thompson, K. (2012). An Introduction to Film Art. (Translator: E. Yılmaz, E. S. Onat). Ankara: De Ki Basım Yayım. (pp. 186-198), (pp. 199-212). - Ankaralıgil, N. (2015). Image Editing in Cinema with Analysis and Examples. Konya: Literatürk Academia Publishing House. (pp. 147-158). - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publishing. (pp. 209-226). - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publishing. (pp. 44-52). - Mascelli, J. V. (2014). 5 Basic Elements of Cinema. (Translator: H. Gür). Ankara: İmge Kitabevi. (pp. 207-255). - Ankaralıgil, N. (2015). Image Editing in Cinema with Analysis and Examples. Konya: Literatürk Academia Publishing House. (pp. 63-75). - Canikligil, İ. (2020). Cinema with Digital Video. Istanbul: Alfa Basım Publishing. (pp. 20-46). - Other related resources. | Öğretim Yöntemleri: Tartışma, Anlatım, Gösteri |
| 5 | - Exposure; FPS (Frames Per Second), Aperture, ASA/ISO. (With film examples). - Exposure Assistants. Zebra (Highlight Alert), White Balance, Color Temperature. Image Stabilization, Color Bars, Timelapse Recording, HDR. (With film examples). - Camera Supports (Grip – Support Systems): Tripod, Dolly, Slider, Crane, Jib arm, Dutch head, Gyroscopic stabilization systems, Car mount, etc. - Cinematic Continuity. (With film examples). | Students should come to this course with the following readings: - Canikligil, İ. (2020). Cinema with Digital Video. Istanbul: Alfa Basım Yayım. (pp. 46-51), (pp. 51-63). (pp. 101-108). - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 77-102). - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Gösteri, Tartışma |
| 6 | - Basic Information on Lighting. - Lighting terms: Key light, Fill light, Backlight, Topper, Hard light, Soft light, Ambient light, High key, Low key, etc. - Appearances of Light: Hard and soft light, direction of light, intensity, texture, color, etc. - Basic Lighting Techniques. - Lighting Tools. (With film examples). - Basic information on lighting. - Basic stage lighting | Students should come to this course with the following readings: - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 103-128), (pp. 129-146). - Brown, B. (2017). Lighting in Cinema and Video. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 35-57). (pp. 58-85). - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Gösteri, Tartışma |
| 7 | - Color in Cinema. (With film examples). - How to Use Color? Meeting with cinema. Contribution to the narrative. Character's journey. Aesthetics. Symbolic use. (With film examples). | Students should come to this course with the following readings: - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp. 227-244). - Öztürk, L. (2023). Color in Cinema: Digital Cinematography and Color Editing from A to Z. Istanbul: Boğaziçi Publications. (pp. 321-335). - Other relevant resources. | Öğretim Yöntemleri: Tartışma, Gösteri, Anlatım |
| 8 | Mid-Term Exam | There is no preliminary preparation | Ölçme Yöntemleri: Yazılı Sınav |
| 9 | Watching a film that has won the best cinematography award at film festivals. Analyzing the relevant film from a cinematographic perspective, taking into account the content of the previous weeks. | - The film to be watched is decided upon by the course instructor and the students who are participants in the course. - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Gösteri, Soru-Cevap |
| 10 | - Set studies: Director of photography and crew. (With film examples and behind-the-scenes film examples). Student Studies: (It is determined as one of the two options below.) Option 1- Students participating in the course determine one of the films that have received the best cinematography award from film festivals. Films included in the e-resources section of the course syllabus should be preferred as a priority. The student may also want to evaluate another film that has received the relevant award. For this, the student must obtain the approval of the course instructor. Students form shooting teams to shoot a section of the film they have determined in the context of a scene/sequence. Teamwork is carried out with 4 students. Option 2- Students participating in the course determine one of the films that have received the best cinematography award from film festivals. Films included in the e-resources section of the course syllabus should be preferred as a priority. The student may also want to evaluate another film that has received the relevant award. For this, the student must obtain the approval of the course instructor. The student analyzes the entirety of a film they have determined cinematographically within the framework of the topics covered in the course. Students who choose Option 2 prepare individually and present their film analysis as a film as a whole within the framework of cinematographic elements. Students indicate which option and film they will prefer and begin preparations for the process. | Students should come to this course with the following readings: - Brown, B. (2014). Cinematography: Theory and Practice. (Translator: S. Taylaner). Istanbul: Hil Publications. (pp.287-306) - Other relevant resources. | Öğretim Yöntemleri: Tartışma, Gösteri, Anlatım, Soru-Cevap |
| 11 | Student Work: Option 1- Students participating in the course justify which scenes/sequences of the film that won the best cinematography award they will reshoot. They make the relevant justification as a presentation within the scope of the course. The student explains how they will redesign the relevant scenes/sequences they will shoot, taking into account the topics in the course and dividing them into headings as a presentation in the course. Option 2- Students participating in the course justify the reasons for choosing one of the films that won the best cinematography award from film festivals. They make a preliminary presentation by explaining the connections between the selected film of the cinematography and other films by associating them with cinematographic elements. The elements that stand out in terms of cinematography in the films of the cinematography director are explained. | - Watching/Listening: Shared audio-visual files related to the topic of the week. Preparing a presentation. - Other related resources. | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma, Gösteri |
| 12 | Student Work: Option 1- Students participating in the course justify which scenes/sequences of the film that won the best cinematography award they will reshoot. They make the relevant justification as a presentation within the scope of the course. The student explains how they will redesign the relevant scenes/sequences they will shoot, taking into account the topics in the course and dividing them into headings as a presentation in the course. Option 2- Students participating in the course justify the reasons for choosing one of the films that won the best cinematography award from film festivals. They make a preliminary presentation by explaining the connections between the selected film of the cinematography and other films by associating them with cinematographic elements. The elements that stand out in terms of cinematography in the films of the cinematography director are explained. | - Watching/Listening: Shared audio-visual files related to the topic of the week. Preparing a presentation. - Other related resources. | Öğretim Yöntemleri: Anlatım, Tartışma, Gösteri, Soru-Cevap |
| 13 | Watching a film that has won the best cinematography award at film festivals. Analyzing the relevant film from a cinematographic perspective, taking into account the content of the previous weeks. | - The film to be watched is decided upon by the course instructor and the students who are participants in the course. - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma, Gösteri |
| 14 | Student Work: Option 1- Students participating in the course will redesign the scenes/sequences they have determined from the film that won the best cinematography award and then show them in the relevant course within the integrity of the editing. Option 2- Students participating in the course will analyze the film that won the best cinematography award within a cinematographic integrity and present it. The student will explain the cinematographic features that make the cinematography stand out by relating them to his other films. | Students should come to this lesson with the following readings: - Watching/Listening: Shared audio-visual files related to the topic of the week. - Other relevant resources. | Öğretim Yöntemleri: Anlatım, Tartışma, Gösteri, Soru-Cevap |
| 15 | Student Work: Option 1- Students participating in the course will redesign the scenes/sequences they have determined from the film that won the best cinematography award and then show them in the relevant course within the integrity of the editing. Option 2- Students participating in the course will analyze the film that won the best cinematography award within a cinematographic integrity and present it. The student will explain the cinematographic features that make the cinematography stand out by relating them to his other films. | Students should come to this lesson with the following readings: - Watching/Listening: Shared audio-visual files related to the topic of the week. - Other relevant resources. | Öğretim Yöntemleri: Tartışma, Alıştırma ve Uygulama, Anlatım, Gösteri |
| 16 | Term Exams - 1 | There is no preliminary preparation | Ölçme Yöntemleri: Yazılı Sınav |
| 17 | Term Exams - 2 | There is no preliminary preparation | Ölçme Yöntemleri: Yazılı Sınav |
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 | 2 | 6 | 12 |
| Mid-term Exams (Written, Oral, etc.) | 1 | 12 | 12 |
| Final Exam | 1 | 18 | 18 |
| Total Workload (Hour) | 126 | ||
| Total Workload / 25 (h) | 5,04 | ||
| ECTS | 5 ECTS | ||