It is aimed at students to have competent artistic knowledge about film production in this direction. The students complete the semester with a production file that includes all the stages of a cinema film.

Documentary film is one of the main areas of film art Design and theoretical work will be a lesson. Documentary movie will be categorized as sub-types, It will be evaluated in terms of form and content. In the documentary film design, upon the cinematographic consequences of these differences will be
emphasized. One of the three main application forms of film art of the documentary with Fiction and Animation, interactions with other film making procedures will be investigated.

Film aesthetics; visual ontology, work-viewer dynamics, cinematographic images and reality,
cinematographic narrative and fiction as it deals with the basic problematics of cinema art. In this lesson will be discussed above on the thoughts of the different theorists and the dominant arguments of the film aesthetics.

This course evaluates the cinema with the aesthetic elements based on the basic visual forms. Young directors who want to add new expressions to their films. Using the contributions of other arts in the context of self-form and meaning while making films. And how they can reach various concepts and
meanings that will express themselves. In the program, subjects such as Surreal cinema, cubism are processed. This course combines modern art movements with cinema and focuses on different artistic disciplines that contribute to the world of cinema such as video art, acting, dance, make-up. This course
will bring new forms of vision to the directors who want to make their films effective or to the
researchers who will do film analysis.

This course discusses the essence of plastic arts and its contribution to cinema which contains in itself other arts, within the context of of form-meaning. Although different disciplines, cinema and plastic arts
have a huge number of common characteristics that are similar and combine on the same basis. Thus, course deals with the mutual aesthetic elements that makes cinema approximate to plastic arts, as well
as the contributions of the variables regarded as basic principles of plastic arts such as composition which is constituted of light, color, texture, rhythm,balance to cinematographic structure. Evaluating the effects of plastic elements to the narrative of cinema aesthetically, course gives the opportunity to evaluate films with regard to aesthetics by providing guidance for those who want to criticize films in terms of aesthetics and film makers who would like to bring an aesthetic dimension to their films.

This course examines socio-economic formations from the outset by studying their basic dynamics and considering modern society and its aftermath as arts and ideologies.

In this course, aim is learned to student, how to do academic research, search for resources, collect information in a specific format. Teaching how to prepare a thesis suitable for academic formation, teaching the stages of form and content formation and learning how the student acquires skills in this subject is the main objective of the course.

In this course, the concept of globalization according to various points of view and criticisms, will be examined. The economical, political, cultural and ideological dimensions of globalization, and the effect of international organizations while forming these dimensions will be discussed. The course aims to teach the culture as a interdisciplinary field and the theories, and to examine cultural transformation Dynamics according to these theories.

Communication History is an interdisciplinary which welcomes contributions adressing Press and society from the fifteenth century to the present . Its perspective is both historical and international,exploring all forms of serial puplications, covering a wide area of Press History during Ottomans and after.

The aim of this course is to enable students to discuss developments, applications, theories and theorists in the field of editing within the historical development process with sample works.

This courses traces the historical development of the media studies and paradigms. With a specific attention to critical and cultural studies approach, the course discusses various theoretical approaches to the relationship between media, society and culture.

The aim of this course is to enable students to discuss the basis of the language of cinema that are the developments, applications, theories and theorists in the field of editing within the historical development process with sample works and within editing methods and techniques.

This course deals with the technical and content features of the television medium, different expression methods depending on program types, the transformation of program design with changing target audience characteristics, and the impact of new media television broadcasting on program content.

This course aims to discuss the social transformations within the framework of the concepts of communication and technology.

Main periods, waves, directors and film production phases of Turkish Cinema will be handled from historical, economical, ideological and aesthetical perspectives. Contemporary directors of Turkish Cinema and the new tendencies in film production will be handled.

Does art also change along with social change, is it necessary? Is art a witness of the history?

In this course, opinion leaders who can change the status quo by their own efforts and experiences are taken as models, oppositions to these leaders in society are examined.

This course initially focuses on a subject matter that could create a theme to work on. After determining the subject matter; the synopsis, the script in progress and the process of script writing techniques will be evaluated and the course will be completed with the final script.

This course traces back the birth of Yeşilçam Cinema, its development, its periods, the trends it took part in, the attempts of creating the language of Turkish Cinema, national cinema, white cinema, social realist cinema and the contributions of the directors Muhsin Ertuğrul, Lütfü Akad, Metin Erksan, Halit Refiğ, Memduh Ün, Atıf Yılmaz, Yılmaz Güney, Yücel Çakmaklı and Yavuz Turgul to the Turkish Cinema.

This course traces the formation of Contemporary Turkish Cinema, its development, its periods, the trends it took part in, the attempts of creating the language of Contemporary Turkish Cinema, dogma-minimalist tendencies and the contributions of independent productions of the directors Derviş Zaim, Zeki Demirkubuz, Reha Erdem, Semih Kaplanoğlu, Nuri Bilge Ceylan, Tayfun Pirselimoğlu and Özcan Alper to the Contemporary Turkish Cinema.

This lecture will offer another point of view against the dominance of Fruedian theories in film studies. With this, Post-Jungian film studies is willing to construct the contemporary theory of cinema. Watching film is a personal experinece which spectators, according to individual needs and desires, project and identify with films and their caracters.

This course starts from the fact that cinema is an art of narration while tracing the dramaturgical structure of narration in classical techniques and practices.

This course aims for a director to have technical information, aesthetic concerns and the realization of these skills within turning a detailed script into the sign system of cinematography.

In this course, starting from the subject matter of a film all the table discussions are evaluated.
The process is finalized with a production file to apply for financial support.

This course discusses the character creation process of the actor; guides the director about how to lead the actor within the ?given conditions?, to determine the needs and propose solutions.

The students get prepared for teh Proficiency Exam that includes all the courses taken.

After completing the course period and succeed the Proficiency Exam, the students present their thesis proposals to the Thesis Jury and argue and defend a genuine art work supervised by their Counsellor and Thesis Jury.