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 assess psychological concepts and perspectives, interpret and evaluate data using scientific methods
2 To be able to develop a curiosity and interest towards the mind and its phenomena, to possess a sense of critical and scientific reflexion and ability to analyze new information.
3 Ability to make use of theoretical and applied knowledge in local and global levels.
4 To have a basic knowledge of other disciplines that can contribute to psychology and to be able to make use of this knowledge
5 To possess and value societal, scientific and ethical principles in collecting, interpreting and publishing psychological data
6 To have knowledge of how psychology is positioned as a scientific discipline from a historical perspective, and to know with what methods it views behavioural and mental processes
7 To be able to distinguish between the emphases of fundamental theories and perspectives of psychology (behavioural, biological, cognitive, evolutionary, social, developmental, humanistic, psychodynamic and sociocultural) and compare and express their differences and similarities, contributions and limitations
8 The competence to share psychological knowledge based and qualitative and quantitative data with experts and lay people, using effective communication skills
9 To have the awareness of interpersonal and societal problems and phenomena and adopt this awareness in psychological problems and researches.
10 Competence to make use of applied and theoretical psychological knowledge to make contributions to industrial development and provide solutions to problems
11 To possess essential knowledge of techniques and instrumentation for psychological measurement and evaluation

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