GEAR 307 | Course Introduction and Application Information

Course Name
Contemporary World Cinema
Local Credits
GEAR 307

Course Language
Course Type
Service Course
Course Level
First Cycle
Course Coordinator -
Course Lecturer(s)
Assistant(s) -
Course Objectives This course aims to introduce students to contemporary world cinema. It consists of film history, key concepts in film studies and world cinema research, and questions of representation in relation to issues of gender, sexuality, race and ethnicity in a global context.
Learning Outcomes The students who succeeded in this course;
  • Define main themes, key moments and trends in contemporary world cinema from the 1980s onwards.
  • Discuss how world cinema intervenes in debates about, and contributes new understandings to, our formulation of the local, national and the transnational in contemporary film studies.
  • Compare discourses regarding questions of representation in the context of gender, race, class and sexuality in cinema across different geographies.
  • Analyze key concepts in film studies and how they apply to world cinema.
  • Discuss meanings of the concepts of local, national and global in their wider implications to film and media studies as well as other disciplines of humanities.
  • Analyze diverse beliefs, practices, stories, and conditions within a wide range of Western and non-Western Cultures through the representations in the films.
  • Discuss film’s power to reflect, reveal, critique, and challenge cultural systems and globalization.
  • Evaluate complex relationships between national identity and transnational production.
Course Content This course combines theoretical work and the viewing of films. Students are responsible for the preparation of three response papers. Each week, we will summarize key points and arguments made by a film scholar on a particular topic and watch a film that relates closely to the text.


Course Category

Core Courses
Major Area Courses
Supportive Courses
Media and Management Skills Courses
Transferable Skill Courses



Week Subjects Related Preparation
1 Introduction
2 Middle Eastern Cinema Screening: Under the Shadow (Babak Anvari, 2016) Moore, L. C. (2005). Women in a Widening Frame:(Cross-) Cultural Projection, Spectatorship and Iranian Cinema. Camera Obscura: Feminism, Culture and Media Studies, 20(2), pp. 1-33
3 Eastern European Cinema I Screening: 4 months, 3 weeks and 2 days (Christian Mungiu,2007) Iordanova, D. (2001). Cinema of Flames: Balkan Film. Culture and the Media (London: BFI, 2001), 178. Ieta, R. (2010). The new Romanian cinema: a realism of impressions. Film Criticism, 34(2/3), 22.
4 Eastern European Cinema II Screening: Dogtooth (Yorgos Lanthimos, 2009) Papadimitriou, L. (2011). The national and the transnational in contemporary Greek cinema. New review of film and television studies, 9(4), 493-512. Chalkou, M. (2012). a new cinema of ‘emancipation’: Tendencies of independence in Greek cinema of the 2000s. Interactions: Studies in Communication & Culture, 3(2), 243-261. Koutsourakis, A. (2012). Cinema of the Body: The Politics of Performativity in Lars von Trier's Dogville and Yorgos Lanthimos' Dogtooth. Cinema: Journal of Philosophy and the Moving Image, 3, 84-108.
5 Western European Cinema I Screening: Turist (Ruben Östlund, 2014) Geuens, Jean-Pierre, ‘Dogma 95: A Manifesto for Our Times’, Quarterly Review of Film & Video, Vol. 18, Issue 2, (2001) pp. 191 – 202
6 Western European Cinema II Screening: Innocence (Lucile Hadzihalilovich, 2004) Powrie, P. (1998). Heritage, history and ‘new realism’: French cinema in the 1990s. Modern & Contemporary France, 6(4), 479-491. Gibson, B. (2006). Bearing witness: The Dardenne Brothers' and Michael Haneke's implication of the viewer. CineAction, (70), 24.
7 Indian Cinema Screening: Monsoon Wedding (Mira Nair, 2001) First Response Paper due date. Larkin, B. (1997). Indian films and Nigerian lovers: media and the creation of parallel modernities. Africa, 67(03), 406-440.
8 African Cinema Screenings: Call Me Kuchu (Katherine Fairfax Wright, Malika Zouhali-Worrall, 2012) Adesokan, A. (2012). Nollywood and the idea of the Nigerian cinema. Journal of African Cinemas, 4(1), 81-98.
9 Cinema in Australia and New Zealand Screening: Heavenly Creatures (Peter Jackson, 1994) Scahill, A. (2012) ‘Wonderful, Heavenly, Beautiful, and Ours’: Lesbian Fantasy and Media(ted) Desire in Heavanly Creatures. Journal of Lesbian Studies. Vol. 16 issue 3, 365-375.
10 Korean Cinema Screening: A Tale of Two Sisters (Jee-Woon Kim, 2003) Second Response Paper due date. Darcy Paquet. (2009). New Korean Cinema: Breaking the Waves. Columbia University Press. 44-61.
11 Hong Kong and Chinese Cinema Screening: Dumplings (Fruit Chan, 2004) Lee, V. P. (2009). Hong Kong cinema since 1997: the post-nostalgic imagination. Palgrave Macmillan. 163-184.
12 Japanese Cinema Screening: Confessions (Tetsuya Nakashima, 2010) Dew, O. (2007). ‘Asia Extreme!: Japanese Cinema and British Hype. New Cinema: Journal of Contemporary Film Vol. 5 issue 1, 53-73. Hyland, R. (2002). Hybridity in Contemporary Japanese Cinema: Heterogeneity in a Homogenous Society. Asian Cinema Vol. 13 issue 2, 105-114.
13 Latin American Cinema Screening: A Fantastic Woman (Sebastian Lelio, 2017) Rocha, C. (2009). Contemporary Argentine Cinema during Neoliberalism.Hispania, 841-851.
14 Diasporic Cinema / Beyond Transnational Cinema Screening: White Material (Claire Denis, 2009) Bergfelder, T. (2005). National, transnational or supranational cinema? Rethinking European film studies. Media, culture & society, 27(3), 315-331. Higbee, W., & Lim, S. H. (2010). Concepts of transnational cinema: Towards a critical transnationalism in film studies. Transnational Cinemas, 1(1), 7-21.
15 Third response paper due date
16 Review of the semester


Course Textbooks



Semester Requirements Number Percentage
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Homework / Assignments
Presentation / Jury
Seminar / Workshop
Midterms / Oral Exams
Final / Oral Exam

Contribution of Semester Work to Final Grade
Contribution of Final Work to Final Grade


Activities Number Duration (Hours) Workload
Course Hours
Including exam week: 16 x total hours
Laboratory / Application Hours
Including exam week: 16 x total hours
Study Hours Out of Class
Field Work
Quizzes / Studio Critiques
Homework / Assignments
Presentation / Jury
Seminar / Workshop
Midterms / Oral Exams
Final / Oral Exam



Program Qualifications / Outcomes
* Level of Contribution
1 To be able to scientifically examine concepts and ideas in the field of sociology; to be able to interpret and evaluate data.
2 To be able to define classical and contemporary theories in sociology; to be able to identify the differences and similarities among those theories and to be able to evaluate them.
3 To be able to critically use the knowledge acquired in the field of sociology
4 To be able to plan and conduct, individually or as a member of a team, an entire sociological research process with the knowledge of methodological requirements of the field.
5 To be able to identify and evaluate local, regional and global issues and problems.
6 To be able to share their ideas and solutions supplemented by qualitative and quantitative data in written and oral forms.
7 To be able to make use of other disciplines related to sociology and to have core knowledge related to those disciplines.
8 To be able to follow developments in sociology and to be able to communicate with international colleagues in a foreign language. (“European Language Portfolio Global Scale,” Level B1)
9 To be able to use computer software required by the discipline and to possess advancedlevel computing and IT skills. (“European Computer Driving Licence”, Advanced Level)
10 To be able to use a second foreign language at the intermediate level.
11 To have social and scholarly values and ethical principles during the collection and interpretation of data for implementation, publication, dissemination, and maintenance
12 To acquire life long learning abilities that will enable the socially responsible application of knowledge based on their field of study to their professional and everyday lives.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest