| Course Type | Elective Course |
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| Course Level | Master's Degree Without Thesis |
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| Year of Study | - |
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| Semester | - |
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| ECTS | 10 |
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| Name of Lecturer(s) |
|
| Learning Outcomes |
At the end of this course, the students;
- can critically analyze classical social psychology theories through an interdisciplinary approach within the context of cultural studies, feminist theory, biopolitics, and film sociology,
- can deconstruct how cinema constructs ideology, social norms, and social representations through perspectives (gaze), mise-en-scene, editing, and narrative,
- can understand and discuss how the camera establishes power relations between the viewer and the viewed; how gender roles, practices of othering, and micro-power fields are produced through visual representations,
- can evaluate cinematic texts within the context of emotion, trauma, repressed desires, and collective memory; can gain the ability to transform the viewing experience into a tool for individual and social insight/healing,
- can produce and present audiovisual texts or publishable critical academic papers using concepts from social psychology.
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| Mode of Delivery | Face to face |
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| Prerequisites | No |
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| Recommended Optional Programme Components | - |
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| Course Description | Social perception, social cognition, attitude and attitude changes, the self, aggression, obedience, social influence, prejudice and interpersonal relations are among the basic study areas of social psychology. Within the scope of this course, the basic themes of social psychology will be discussed via films directly or indirectly related to the mentioned themes. |
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| Course Contents |
| WEEK |
TOPICS |
|
1st Week |
Introduction, general information about the course. Discussion on the relationship between cinema and social psychology, focusing on the question "Why is Cinema a Social Psychology Laboratory?". |
|
2nd Week |
"Do We Believe What We See, or Do We See What We Believe?" Discussion on social cognition, schemas, and cognitive biases. |
|
3rd Week |
"From Yesterday to Today." Discussion on collective memory, trauma, and social representations. |
|
4th Week |
"From Obedience to Body Control." Discussion on the link between biopolitics, surveillance, and normative violence with conventional action. |
|
5th Week |
"Who Are We?" Discussion on social identity theory, group polarization, echo chambers, and mass psychology. |
|
6th Week |
"Producing the Other." Discussion on moral panic, stigma, xenophobia, microaggressions, and minority influence. |
|
7th Week |
MIDTERM |
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8th Week |
"The World as a Stage." Discussion on self-presentation and our digital/visual personas. |
|
9th Week |
"Whose Right is It to Look?" Gender roles, performativity, male gaze-female gaze, and heteronormative consensus are discussed in relation to the gender-based performance of social roles. |
|
10th Week |
"The Social States of Emotion." Discussions on the sociology of affect, class resentment, up/down social comparison, empathic alienation, and emotional catharsis. |
|
11th Week |
"The Manufacturing of Consent." Discussions on the elaboration probability model, attitude change through cognitive dissonance, implicit suggestion, hegemony, cinematographic propaganda, and perception management. |
|
12th Week |
"The Banality of Violence, Spectator Complicity, and De-identification." Discussions on aggression theories, Bandura and moral disintegration, de-identification, and the aestheticization of violence. |
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13th Week |
"Digital Loneliness, Post-Humanism, and Next-Generation Attachment." Discussions on attachment theories, psychosocial bonds formed with artificial intelligence and non-human objects, the loneliness industry, parasocial interaction, and the subjectivity of the future. |
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14th Week |
FINAL |
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| Recommended or Required Reading | Mandatory Resources:
Aronson, E., Wilson, T. D., & Akert, R. M. (2018). Sosyal Psikoloji. Kaknüs Yayınları.
Recommended Resources:
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen.
Ahmed, S. (2015). Duyguların Kültürel Politikası. Sel Yayınları.
Foucault, M. (2013). Hapishanenin Doğuşu. İmge Kitabevi.
Zizek, S. (2011). Yamuk Bakmak: Popüler Kültürden Jacques Lacan'a Giriş. Metis Yayınları.
Goffman, E. (2014). Günlük Yaşamda Benliğin Sunumu. Metis Yayınları.
Berger, J. (2016). Görme Biçimleri. Metis Yayınları.
Kaya, F. Ş. (2021). Sosyal Psikolojide Film Analizleri. Nobel Kitap.
Grant, C. - The Audiovisual Essay (makale) https://www.researchgate.net/publication/323142725_The_audiovisual_essay_as_performative_research
|
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| Planned Learning Activities and Teaching Methods |
- Lecture
- Discussion
- Film İzleme/Analiz
|
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| Assessment Methods and Criteria |
|
Quantity |
Percentage (%) |
| Mid-term |
1 |
25 |
| Project |
1 |
25 |
| Attendance |
1 |
10 |
| Total(%) |
|
60 |
| Contribution of In-term Studies to Overall Grade(%) |
|
60 |
| Contribution of Final Examination to Overall Grade(%) |
|
40 |
| Total(%) |
|
100 |
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| ECTS Allocated Based on Student Workload |
| Activities |
Quantity |
Duration (Hour) |
Total Workload (Hour) |
| Midterm exam |
1 |
3 |
3 |
| Preparation for Quiz |
1 |
50 |
50 |
| Individual or group work |
14 |
6 |
84 |
| Preparation for Final exam |
1 |
80 |
80 |
| Course hours |
14 |
3 |
42 |
| Preparation for Midterm exam |
1 |
35 |
35 |
| Laboratory (including preparation) |
|
|
|
| Final exam |
1 |
3 |
3 |
| Homework |
|
|
|
| Presentation (including preperation) |
|
|
|
| Project |
1 |
3 |
3 |
| Total Work Load | 300 |
| Total Work Load / 30 (h) | 10 |
| ECTS Credit of the Course | 10 |
|
| Language of Instruction | Turkish |
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| Work Placement(s) | No |
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