| Course Unit Title | Course Unit Code | Type of Course Unit | Level of Course Unit | Year of Study | Semester | ECTS Credits |
|---|---|---|---|---|---|---|
| Documentary Film | RTS330 | Compulsory | Bachelor's degree | 3 | Spring | 3 |
Name of Lecturer(s)
Associate Prof. Dr. Özgür VELİOĞLU METİN
Learning Outcomes of the Course Unit
1) List the features of a documentary film.
2) Correlate documentary film with political, social, economic, technological and cultural conditions.
3) Explain the basic movements and schools of documentary cinema, compares.
4) Exemplify the types of documentary cinema.
5) Distinguish a watched documentary film from that associated with current and styles.
6) Use the interview technique in accordance with a selected theme by oral history method.
7) Analyze recent trends in documentary cinema.
Program Competencies-Learning Outcomes Relation
| Program Competencies | ||||||||||||||||
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | ||
| Learning Outcomes | ||||||||||||||||
| 1 | Middle | High | Middle | Low | High | Low | High | No relation | No relation | Middle | No relation | High | No relation | Middle | Low | |
| 2 | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | |
| 3 | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | |
| 4 | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | |
| 5 | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | |
| 6 | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | No relation | |
| 7 | Middle | Low | Middle | Low | Middle | No relation | No relation | Low | High | No relation | Low | No relation | High | Low | No relation | |
Mode of Delivery
Face to Face
Prerequisites and Co-Requisites
None
Recommended Optional Programme Components
None.
Course Contents
Documentary films definitions, the relationship between reality-fiction, Vertov and cine-eye, Flaherty, Grierson, ethnographic films, propaganda documentaries, cinema verite, direct cinema, oral history and documentary films, documentary cinema styles Exhibitor, observational, interactive and thinkingl style; documentary cinema new tendencies; documentary films in Turkey.
Weekly Schedule
1) What is Documentary Cinema? Definitions, approaches.2) Lumiere and Realistic Tendency
3) Representation Types in Documentary: Exhibitor, Observational, Interactional, and Self-thinking
4) Exhibitor Genre: Grierson and Flaherty, The Origin of Ethnographic Film
5) Propaganda: The Nazi Documentaries
6) Documentary Cinema's place in Cinema History
7) Observational Genre: Direct Cinema; Leacock-Pennebaker, F. Wiseman and "Game".
8) Midterm examination/Assessment
9) Interactive Documentary: Cinema Verite, Rouche and Colonialism.
10) Oral History and Documentary Cinema: "Istanbul in Memories"
11) To make documentary films with Oral History method: Interview Experience.
12) Self-thinking Documentary: Cine-Eye, and D. Vertov, "Dûr"
13) Self-thinking Strategies: Personal-Documentary Film: "My Architect Father"
14) Television Documentaries and New Formats: From National Geographic to Reality Television; Hybrid Types.
15) General Review
16) Final examination
Recommended or Required Reading
1- Kutay, Uğur (2009). Gerçeği Öldüren Kamera: Belgesel. İstanbul: Es.
2- Akbulut, Hasan (2010). “Bellek Olarak Belgesel Sinema: Son Dönem Türkiye Belgesel Sinemasına Bir Bakış”, sinecine: film araştırmaları dergisi (2).
3- Barnauw, Eric (1993). Documentary: A History of the Non-fiction Film. New York, Oxford: Oxford University Press.
4- Büker, Seçil (1990). “Belgesel Üzerine”, Kurgu (7): 121-126.
5- Binark, Mutlu (1990-91). “Belgesel Yapımcısı- Gerçek İlişkisi, Tarihsel Bir Perspektif ve Belgeselde Amaç Üzerine Deneme”, Gazi Ü. BYYO Dergisi (11): 133-140.
6- Atabey, Melek (2005). “Belgesel Film Yapımında Yeni Yönelimler ve Melez Formlar”, Ege Üniversitesi, İletişim Fakültesi Dergisi, Düşünceler, Yıl: 1 (1): 217-228.
7- Ulutak, Nazmi (2007). “Bir Sözlü Tarih Denemesi”, Belgesel Sinema 2007. İstanbul: Belgesel Sinemacılar Birliği Yay.
8- Etnoğrafya ve Belgesel Filmler Sempozyumu. 11-13 Nisan 1973. İstanbul: Avusturya Kültür Yayınları.
9- Pekerman, Serazer (2005). “Moore, Sinema Kapılarını Belgesel Filme Açtı: Popüler Protestolar,” Seyir (2): 13-15.
10- Cereci, Sedat (1997). Belgesel Film. İstanbul: Şule.
11- Rotha, Paul (2000). Belgesel Sinema. Çev. İ. Şener. İstanbul: İzdüşüm.
Tobias, Michael (2007). Belgesel Film Yapım Sanatı: Gerçeği Arayış. Çev. Nebil Köken. İ
12-
BSB (2007). Belgesel Sinema 2007. İstanbul: Belgesel Sinemacılar Birliği Yay.
Yeni İnsan Yeni Sinema (Bahar-Yaz 2003). Belgeselden Toplumsal Belleği (ss32-55).
Özdemir, Murad (2003). Düğün Videoları: Geçmişe Dönmek için Kaseti Geri Sar,” Belgesel Sinema, Kış: 35-39. İstanbul: Kolaj.
13- Ulutak, İlknur (2003). “Leni Riefenstahl’ın Muhteşem ve Korkunç Filmleri,” Belgesel Sinema, İlkbahar-Yaz: 28-38.
14- Sönmez, Necati (2003). “Michael Moore ve Belgeselin Kükreyişi,” Belgesel Sinema, İlkbahar-Yaz: 8-10.
Planned Learning Activities and Teaching Methods
1) Lecture
2) Question-Answer
3) Discussion
4) Group Study
5) Problem Solving
Assessment Methods and Criteria
Contribution of Midterm Examination to Course Grade |
40% |
|---|---|
Contribution of Final Examination to Course Grade |
60% |
Total |
100% |
Language of Instruction
Turkish
Work Placement(s)
Not Required