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Dersin Bilgileri

Dersin Adı
Türkçe Sinema Sanatı
İngilizce Film Art
Dersin Kodu
SNT 105E Kredi Ders
(saat/hafta)
Uygulama
(saat/hafta)
Labratuvar
(saat/hafta)
Dönem -
3 3 - -
Dersin Dili İngilizce
Dersin Koordinatörü Kağan Demirdöven
Kağan Demirdöven
Dersin Amaçları Sinema sanatı ve Şehir ve Film ilişkisi
Dersin Tanımı Sinema sanatı ve Şehir ve Film ilişkisi
Dersin Çıktıları
Önkoşullar
Gereken Olanaklar
Diğer Chantal Akerman. From the Other Side (De l‘autre côté, 2002)
Fatih Akın. Short Sharp Shock (kurz undschmerzlos, 1998)
—— In July (Im Juli, 2000)
—— Solino (2002)
—— Head-On (Gegen die Wand, 2004)
Robert Aldrich. Kiss Me Deadly (1955)
R’anan Alexandrowicz. James’ Journey to Jerusalem (Massa’ot James Be’eretz
Hakodesh, 2003)
Thomas Arslan. Brothers and Sisters (Kardesler – Geschwister, 1997)
E. Kutlugˆ Ataman. Lola and Billy the Kid (Lola + Bilidikid, 1999)
Alain Berliner. Ma vie en rose (1997)
Ursula Biemann. Performing the Border (1999)
—— Remote Sensing (2001)
Stephanie Black. Life and Debt (2001)
Craig Brewer. Hustle & Flow (2005)
Peter Brooks. Moderato Cantabile (1960)
Sue Brooks. Japanese Story (2003)
Linda Goode Bryant and Laura Poitras. Flag Wars (2003)
Lois Buñuel. Los Olvidados (1950)
Charles Burnett. Killer of Sheep (1977)
Tim Burton. Batman (1989)
Marcel Camus. Black Orpheus (1959)
Marc Caro and Jean-Pierre Jeunet. Delicatessen (1991)
—— The City of Lost Children (Le cité des enfants perdus, 1995)
Claude Chabrol. The Cousins (Les cousins, 1959)
—— The Good Girls (Les bonnes femmes, 1960)
—— Handsome Serge (Le beau Serge, 1958)
Gurinder Chadha. Bend It Like Beckham (2002)
Fruit Chan. Made in Hong Kong (Xianggang zhizao, 1998)
Jackie Chan. Project A (‘A’ gai waak, 1983)
Madhi Charel. Tea in the Harem (1985)
René Clément. Is Paris Burning? (Paris brûle-t-il?, 1966)
Robert Clouse. Enter The Dragon (1973)
Larry Cohen. Black Caesar (1973)
Sofia Coppola. Lost in Translation (2003)
Robert Culp. Hickey & Boggs (1972)
Michael Curtiz. Casablanca (1942)
Jules Dassin. Thieves’ Highway (1949)
Tom Dey. Shanghai Noon (2000)
Stanley Donen and Gene Kelly. Singing in the Rain (1952)
Richard Donner. Superman (1978)
Jean Douchet, Jean Rouch, Jean-Daniel Pollet, Eric Rohmer, Jean-Luc Godard, and
Claude Chabrol. Six in Paris (Paris vu par . . . , 1965)
Ziad Doueiri. West Beyrouth (Lebanon, 1998)
Karim Dridi. Bye-Bye (1995)
Edison. What Happened on 23rd Street, New York City (1901)
Sergei M. Eisenstein. Battleship Potemkin (Bronenosets Potyomkin, 1925)
William Friedkin. Cruising (1980)
Allen Fong. Father and Son (Fu zi qing, 1981)
John Ford. Stagecoach (1939)
Stephen Frears. Dirty Pretty Things (2002)
Louis J. Gasnier. Reefer Madness (1936)
Karl Gass. Look at This City! (Schaut auf diese Stadt, 1962)
Haile Gerima. Bush Mama (1976)
Bahman Ghobadi. Turtles Can Fly (Lakposhtha hâm parvaz mikonand, 2004)
Jean-Luc Godard. Breathless (À bout de souffle, 1960)
—— Charlotte and Her Boyfriend (Charlotte et son Jules, 1960)
—— The Little Soldier (Le petit soldat, 1960)
—— A Woman Is a Woman (Une femme est une femme, 1961)
—— Contempt (Le mépris, 1963)
—— Alphaville (Alphaville, une étrange aventure de Lemmy Caution, 1965)
—— Pierrot le fou (1965)
—— Masculine/Feminine: In 15 Acts (Masculin/féminin: 15 faits précis, 1966)
—— Two or Three Things I Know about Her…… (Deux ou trois choses que je sais
d’elle, 1966)
D.W. Griffith. The Musketeers of Pig Alley (1912)
Tsui Hark. Dangerous Encounter of the First Kind (Diyi leixing weixian, 1980)
Howard Hawks. The Big Sleep (1946)
Perry Henzell. The Harder They Come (1972)
Cecil Hepworth. Explosion of a Motor Car (1900)
—— How It Feels to be Run Over (1900)
Jack Hill. Coffy (1973)
Gavin Hood. Tsotsi (2005)
Jan Hrebejk. Up and Down (Horem pádem, 2004)
Ann Hui. The Secret (Feng jie, 1979)
Ders Kitabı
Diğer Referanslar Adler, J.S. (2006) First in Violence, Deepest in Dirt: Homicide in Chicago, 1875–1920,
Cambridge, MA: Harvard University Press.
“The Advance of Kung Fu,” Asiaweek (May 9, 1980): 42.
Albrecht, D. (1986) Designing Dreams: Modern Architecture in the Movies, New York:
Harper & Row.
An, J. (2001) “The Killer: Kult Film and Transcultural (Mis)Reading,” in E.C.M. Yau (ed.)
At Full Speed: Hong Kong Cinema in a Borderless World, Minneapolis: University of
Minnesota Press, 95–113.
Anderson, B. (1983, 2002) Imagined Communities, London: Verso.
Andrew, D. (ed.) (1987) Breathless: Jean-Luc Godard, Director, New Brunswick, NJ:
Rutgers University Press.
Appadurai, A. (1996) Modernity at Large: Cultural Dimensions of Globalization,
Minneapolis: University of Minnesota Press.
Armes, R. (1987) Third World Filmmaking and the West, Berkeley: University of
California Press.
Assmann, A., M. Gomille, and G. Ripple (eds) (2002) Ruinenbilder (Pictures of Ruins)
Munich: Wilhelm Fink Verlag.
Astruc, Alexandre (1948) “The Birth of a New Avant-Garde: La Caméra-Stylo,” L’ecran
français 141; reprinted in (1968) P. Graham (ed.) The New Wave, Garden City, NJ:
Doubleday, 17–22.
Barber, S. (2003) Projected Cities: Cinema and Urban Space, London: Reaktion Books.
Baudrillard, J. (1992) “From Simulations,” in P. Waugh (ed.) Postmodernism: A Reader,
London: Arnold, 186–8.
Beck, U. (2000a) “The Cosmopolitan Perspective: On the Sociology of the Second Age of
Modernity,” British Journal of Sociology 51 (1): 79–105.
—— (2000b) What Is Globalization? Oxford: Blackwell.
Bell, D., J. Binnie, R. Holliday, R. Longhurst, and R. Peace (2001) Pleasure Zones: Bodies,
Cities, Spaces, New York: Syracuse University Press.
Bell, D. and G. Valentine (1995) Mapping Desire, London: Routledge.
Belton, J. (ed.) (1996) “The Production Code,” in Movies and Mass Culture, New
Brunswick, NJ: Rutgers University Press, 135–49.
Benjamin, W. (1999a) “Paris, Capital of the Ninteenth Century: Exposé of 1939,” The
Arcades Project, Cambridge, MA: Harvard University Press, 14–26.
—— (1999b) “Paris, Capital of the Nineteenth Century: Exposé of 1935,” in The Arcades
Project, Cambridge, MA: Harvard University Press, 3–13.
—— (1999c) “The Return of the Flâneur,” in Selected Writings, vol. 2, Cambridge, MA:
Harvard University Press, 262–7.
—— (2003a) “The Work of Art in the Age of its Technological Reproducibility (Third
Version),” in Selected Writings, Cambridge, MA: Harvard University Press, vol. 4,
251–83.
—— (2003b) “The Paris of the Second Empire in Baudelaire,” Selected Writings, vol. 4,
Cambridge, MA: Harvard University Press, 3–92.
Binh, N.T. with F. Garbaz (2003) “Autour de la nouvelle vague, ou Paris retrouvé,” (For
the auteur of the nouvelle vague, a rediscovery of Paris) in Paris au cinéma: la vie
rêvéde la capitale de Méliès à Amélie Poulain, Paris: Éditions Parigramme, 145–51.
“Blaxploitation Revisited,” (2005) Screening Noir: Journal of Black Film, Television, and
New Media Culture 1(1) (fall/winter).
Bloom, P. (2006) “Beur Cinema and the Politics of Location: French Immigration Politics
and the Naming of a Film Movement,” in E. Ezra and T. Rowden (eds) Transnational
Cinema: The Film Reader, London: Routledge, 131–141.
Borde, R. and É. Chaumeton (1955) Panorama du film noir américain, Paris: Éditions de
Minuit, trans P. Hammond (2002) as A Panorama of American Film Noir, 1941–1953,
San Francisco, CA: City Lights.
Bordwell, D. (2000) Planet Hong Kong: Popular Cinema and the Art of Entertainment,
Cambridge, MA: Harvard University Press.
Bordwell, D. and K. Thompson (2008) Film Art: An Introduction, New York:
McGraw-Hill.
Bottomore, S. (1999) “The Panicking Audience? Early Cinema and the ‘Train Effect’,”
Historical Journal of Film, Radio and Television 19 (2), 177–216.
Brodnax, M. (2001) “Man a Machine: The Shift from Soul to Identity in Lang’s Metropolis
and Ruttmann’s Berlin,” in K.S. Calhoon (ed.) Peripheral Visions: The Hidden Stages
of Weimar Cinema, Detroit, MI: Wayne State University Press, 73–93.
Buck-Morss, S. (1989) The Dialectics of Seeing: Walter Benjamin and the Arcades Project,
Cambridge, MA: MIT Press.
Bukatman, S. (1997) Blade Runner, London: British Film Institute.
Butler, C. (2002) Postmodernism: A Very Short Introduction, Oxford: Oxford
University Press.
Butler, J. (1993) “Gender Is Burning: Questions of Appropriation and Subversion,” in
Bodies that Matter: On the Discursive Limits of ‘Sex’, New York: Routledge, 121–40.
Carter, E., J. Donald, and J. Squires (eds) (1993) Space and Place: Theories of Identity and
Location, London: Lawrence & Wishart.
Chartier, J.-P. (1946) “Les américains aussi font des film noirs,” (Americans also make
films noir) Revue du cinèma 2 (November), 67–70.
Christie, I. (1994) The Last Machine: Early Cinema and the Birth of the Modern World,
London: BBC–British Film Institute.
Bibliography • 221
Christopher, N. (1997) Somewhere in the Night: Film Noir and the American City, New
York: Free Press.
Clarke, D.B. (ed.) (1997a) The Cinematic City, London: Routledge.
—— (1997b) “Introduction: Previewing the Cinematic City,” in D.B. Clarke (ed.), The
Cinematic City, London: Routledge, 1–18.
Clarke, D.B. and M. A. Doel (2005) “Engineering Space and Time: Moving Pictures and
Motionless Trips,” Journal of Historical Geography 31, 41–60.
Clover, J. (2004) The Matrix. London: British Film Institute.
Cornell, J.C. (1999) “Different Countries, Different Worlds: The Representation of
Northern Ireland in Stewart Parker’s Lost Belongings,” in J. MacKillop (ed.)
Contemporary Irish Cinema: From The Quiet Man to Dancing at Lughnasa, Syracuse,
NY: Syracuse University Press, 71–84.
Costabile-Heming, C.A., R.J. Halverson, and K.A. Foell (eds) (2004) Berlin: The
Symphony Continues – Orchestrating Architectural, Social, and Artistic Change in
Germany’s New Capital, Berlin: Walter de Gruyter.
Dadameah, S.A. (1972) “Hong Kong’s Booming Movie Business,” Penang (Malaysia)
Star, August 2: 13.
Dickos, A. (2002) Street with No Name: A History of the Classic American Film Noir,
Lexington: University Press of Kentucky.
Dimendberg, E. (2004) Film Noir and the Spaces of Modernity, Cambridge, MA: Harvard
University Press.
Dirk, R. and C. Sowa (2003) Paris im Film (Paris on Film), Munich: Belleville.
Doane, M.A. (1991) Femmes Fatales: Feminism, Film Theory, Psychoanalysis, New York:
Routledge.
Douchet, J. and G. Nadeau (1987) “La nouvelle vague est arrivé, 1958 . . . ,” (The nouvelle
vague has arrived, 1958) in their Paris cinéma: Une ville vue par le cinéma de 1895 à
nos jours, Paris: Editions du May, 176–90.
Du Bois, W.E.B. (1996) “The Negro Problem of Philadelphia” (1899), in R.T. LeGates and
F. Stout (eds) The City Reader, London: Routledge, 119–25.
Downie, A. (2007) “The Pulse of Rio de Janeiro’s Slums Luring Foreign Guests,” Christian
Science Monitor, February 6; available: http://www.csmonitor.com/2007/0206/p01s04-
woam.html (accessed February 18, 2007).
Dyer, R. (1990) Now You See It: Studies on Lesbian and Gay Film, New York: Routledge.
Eisenschmidt, A. and J. Mekinda (n.d.) “Architecture as a Document of Historical
Change: Three Examples from Post-War Europe,” Zeithistorische Forschungen/Studies
in Contemporary History; available: http:www.zeithistorische-forschungen.de/site/
40208278/default.aspy (accessed September 3, 2007).
Elsaesser, T. (2000a) Weimar Cinema and After: Germany’s Historical Imaginary,
London: Routledge.
—— (2000b) Metropolis. London: British Film Institute.
Elsaesser, T. with A. Baker (1990) Early Cinema: Space – Frame – Narrative, London:
British Film Institute.
Ezra, E. and T. Rowden (eds) (2006) Transnational Cinema: The Film Reader, London:
Routledge.
 
 
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