TYPE OF COURSE UNIT	Elective Course
LEVEL OF COURSE UNIT	Bachelor's Degree
YEAR OF STUDY	-
SEMESTER	-
NUMBER OF ECTS CREDITS ALLOCATED	5
NAME OF LECTURER(S)	Professor Hidayet Hale Künüçen
LEARNING OUTCOMES OF THE COURSE UNIT	At the end of this course, the students; 1) Will get to know the importance of acting in cinema. 2) Know historical and intellectual origins of film-acting. 3) Practise acting in a film.
MODE OF DELIVERY	Face to face
PRE-REQUISITES OF THE COURSE	No
RECOMMENDED OPTIONAL PROGRAMME COMPONENT	None
COURSE DEFINITION	Starting from the ancient ages theoreticians with different understandings have studied on the art of acting with different methods. How come "mimetic action", reflection of the right emotion and "liking" after these is achieved? Or what are the factors that make "liking"? For this purpose, knowledge including the first methodological study of the art of acting beginning from Aristotle in a chronological and historical order and also knowledge about the first applied method in cinema will be given.
COURSE CONTENTS	WEEK TOPICS 1st Week Introduction, information about course contents 2nd Week History of acting 3rd Week Early scientific studies on art of acting in the world 4th Week History of acting in Turkey 5th Week Theoretical basis of art of acting 6th Week First attempts of K.S. Stanislavski 7th Week Stanislavski System and acting methodology 8th Week Midterm 9th Week Physical Actions Method of Stanislavski System 10th Week Elements of action 11th Week The adaption of Stanislavski System to American style of acting, "Actors Studio" 12th Week "Actors Studio" and Lee Strasberg 13th Week Method Acting Method's adaption to Acting in Cinema 14th Week Analysis of Acting in terms of System and Method Acting
RECOMENDED OR REQUIRED READING	ARIJON, Daniel. (1993). Film Dilinin Grameri 1. cilt, Ed. Yalçın Demir, (Çev. Yalçın Demir ve başk.). Eskişehir: Anadolu Üniversitesi Yayınları. ARISTOTELES. (2001). Poetika, Çev. İsmail Tunalı, İstanbul: Remzi Kitabevi. BARR, Tony. (1986). Acting for the Camera: Revised Edition, Harpercollins: Harper Paperbacks. BARTON, Robert. (1989). Acting: Onstage and Off, Orlando: Holt, Rinehart and Winston,Inc., The Dryden Pres. BAZIN, Andre. (1995) Sinema Nedir?, Çev. İbrahim Şener, İstanbul: Sistem Yayıncılık. BENEDETTI, Robert. (1976). Seeming, Being and Becoming, Drama Book Specialist, New York. BENEDETTI, Robert. (1981). The Actor at Work, Englewood Cliffs, Prentice Hall, New Jersey. BLUNT, Jerry. (1966). The Composite Art of Acting, New York: The Macmillan Company. BOBKER, Lee R. (1974). Elements of Film, Lakewood: Great Buy Books. BOUCICAULT, Dion ve başk. (1916). The Art of Acting, New York: Dramatic Museum of Columbia Universty. BROWN, Blain. (2006). Sinematografi - Kuram ve Uygulama, Çev. Selçuk Taylaner, İstanbul: Hil Yayınları. CARLSON, Marla. (2000). "Acting and Answerability", David Krasner (Ed.), Method Acting Reconsidered, New York: St. Martin's Pres. CARNICKE, Sharon M. (1998). Stanislavsky in Focus, Amsterdam: Harwood Academic Publishers. COLE, Toby (ed.) (1947). Acting: A Handbook of the Stanislavski Method, New York. DIDEROT, Denis. (1957). The Paradox of Acting, Çev.: W.H.Pollock, New York: Hillend Wang, Inc. DIDEROT, Denis. (1994). Selected Writings On Art And Literature, İng. Çev. Geoffrey Bremmer, London: Penguin Classics, DIDEROT, Denis. (1996). Aktörlük Üzerine Aykırı Düşünceler, Çev. Sabri Esat Siyavuşgil, İstanbul: Sosyal Yayınlar, Dünya Klasikleri Kültür Dizisi:2. DIDEROT, Denis. (1997). Felsefe Konuşmaları, Çev. Adnan Cemgil, İstanbul: Sosyal Yayınları Dünya Klasikleri Kültür Dizisi. DMYTRYK, Edward ve Jean PORTER. (1995). Sinemada Oyunculuk, İstanbul: AFA Sinema Yayınları. DUERR, Edwin. (1962). The Length and Depth of Acting, New York. DUMESNIL, Marie-Francoise. (1957). "A Reply To Clairon", Actors On Acting, Ed. Toby Cole, Helen K. Chinoy, New York: Clown Publishers. GORDON, Mel. (1987). The Stanislavsy Technique, New York: Applause. GORDON, Marc.(2000). "Salvaging Strasberg at the Fin Siecle", Method Acting Reconsidered, Ed. David Krasner, New York: St. Martin's Pres. HETHMON, H. Robert. (1991). Strasberg at The Actors Studio, New York: Theater Communications Group Inc. HIRCSH, Foster. (1984). A Method to Their Madness: A History of the Actors Studio, New York : Norton. KRACAUER, Siegfried. (1997). Theory of Film, The Redemption of Physical Reality, Oxford Unıversıty Pres. KRASNER, David. (Ed.) (2000). Method Acting Reconsidered: Theory, Practice, Future, New York: St. Martin's Pres. LOTMAN, Yuriy M. (1999). Sinema Estetiğinin Sorunları, (Çev. Oğuz Özügül). Ankara: Öteki Yayınevi. MASCELLI, V. Joseph. (2002). Sinemanın 5 Temel Öğesi, Ankara: İmge Kitabevi Yayınları. MONACO, James. (2005). Bir Film Nasıl Okunur?, (Çev. Ertan Yılmaz). İstanbul: Oğlak Yayıncılık. MOORE, Sonia. (1984). The Stanislavski System-The Professional Training of an
PLANNED LEARNING ACTIVITIES AND TEACHING METHODS	Lecture,Other
ASSESSMENT METHODS AND CRITERIA	Quantity Percentage(%) Mid-term 1 30 Assignment 1 5 Practice 1 10 Attendance 1 5 Total(%) 50 Contribution of In-term Studies to Overall Grade(%) 50 Contribution of Final Examination to Overall Grade(%) 50 Total(%) 100
ECTS WORKLOAD	Activities Number Hours Workload Midterm exam 1 2 2 Preparation for Quiz Individual or group work Preparation for Final exam 1 60 60 Course hours 14 3 42 Preparation for Midterm exam 1 50 50 Laboratory (including preparation) Final exam 1 2 2 Homework 1 2 2 Total Workload 158 Total Workload / 30 5,26 ECTS Credits of the Course 5
LANGUAGE OF INSTRUCTION	Turkish
WORK PLACEMENT(S)	No