In this course, how developing digital technologies and the ever-changing forms of publishing and broadcasting has an impact impact on the mass and the individual and societal bases, how they impact consumption and legal processes, how these digital technologies and new forms of publishing relate to economic parameters, and how they affect the change of production in the context of digitalization will be examined.
Vertical Tabs
Course Learning Outcomes
| Learning Outcomes | Program Learning Outcomes | Teaching Methods | Assessment Methods |
| 1) The student becomes knowledgeable about the effects of the changes in media caused by digital technology on the individual | 1, 7, 8 | 1, 2 | C |
| 2) The student obtains knowledge about the societal issues due to the changes in media caused by digital technology. | 1, 7, 8 | 1, 2 | C |
| 3) The student becomes aware about the economic developments and processes in the field of media brought by digital technologies. | 1, 7 | 1, 2 | C |
| 4) The student becomes knowledgeable about the fields of applications of digital advertisement | 1, 5, 7 | 1, 2 | C |
| 5) The student becomes knowledgeable about the changes in law with digital technology. | 5, 7 | 1, 2 | C |
Course Flow
| COURSE CONTENT | ||
| Week | Topics | Study Materials |
| 1 | Introduction. | |
| 2 | Media, Communication, Social Change | |
| 3 | Overview of the effects of digital publishing on society | |
| 4 | Interaction of Traditional and Internet Medias (Media forms), Human Relations that are evolved by the Social Media. | |
| 5 | The Impacts of Internet Media on Democracy, Politics and Organisation. | |
| 6 | Fordism, Neo-Luddite, and the New Order Brought by AI of our day. | |
| 7 | Interaction of (fandom, admiration) and Construction of Identity in Internet Media. | |
| 8 | Midterm. | |
| 9 | The Impacts of Smart Phones On Society, Cultural Roles of YouTube Videos on Different Geographies. | |
| 10 | Privacy, Internet Piracy and Identity Theft in Digital Technologies. | |
| 11 | Production and Consumption of Interactive Media. | |
| 12 | Advertisement Formats in Internet Media. | |
| 13 | Individual and Global Brand Production and Management in Internet Media | |
| 14 | Legal Limitations of Digital Activities. | |
| 15 | Course Review | |
| 16 | Final | |
Recommended Sources
| RECOMMENDED SOURCES | |
| Textbook | |
| Additional Resources |
Andrejevic, M. (2002). The work of being watched: Interactive media and the exploitation of self-disclosure. Critical studies in media communication, 19(2), 230-248.
Baase, S. (2013). A Gift Of Fire: Social, Legal, And Ethical İssues For Computing Technology, 4. Edition. Pearson. Barnard, S. R. (2016). Spectacles of self (ie) empowerment? Networked individualism and the logic of the (post) feminist selfie. In Communication and Information Technologies Annual: [New] Media Cultures (pp. 63-88). Boase, J., & Wellman, B. (2006). Personal relationships: On and off the Internet. The Cambridge handbook of personal relationships, 8, 709-723. Brodersen, A., Scellato, S., & Wattenhofer, M. (2012, April). Youtube around the world: geographic popularity of videos. In Proceedings of the 21st international conference on World Wide Web (pp. 241-250). ACM. Crane, D., & Bovone, L. (2006). Approaches to material culture: The sociology of fashion and clothing. Poetics, 34(6), 319-333. Emerald Group Publishing Limited. Gill, R. (2012). Media, empowerment and the ‘sexualization of culture’ debates. Sex Roles, 66(11-12), 736-745. Greenhow, C., & Robelia, B. (2009). Informal learning and identity formation in online social networks. Learning, Media and Technology, 34(2), 119-140. Gurevitch, M., Coleman, S., & Blumler, J. G. (2009). Political communication—Old and new media relationships. The ANNALS of the American Academy of Political and Social Science, 625(1), 164-181. Highfield, T., Harrington, S., & Bruns, A. (2013). Twitter as a technology for audiencing and fandom: The# Eurovision phenomenon. Information, Communication & Society, 16(3), 315-339. Huyssen, A. (2000). Present pasts: Media, politics, amnesia. Public culture, 12(1), 21-38. Ibrahim, Y. (2010). Distant Suffering and Postmodern Subjectivity: the Communal Politics of Pity. Nebula, 7. Jenkins, H. (2003). Quentin Tarantino’s Star Wars? Digital cinema, media convergence, and participatory culture. Rethinking media change: The aesthetics of transition, 281-312. Jenkins, H. (2006). Convergence culture: Where old and new media collide. NYU press, pp. 1-24. Kemmer, D. (2000). Tradition and change in domestic roles and food preparation. Sociology, 34(2), 323-333. Khamis, S., Ang, L., & Welling, R. (2017). Self-branding,‘micro-celebrity’and the rise of Social Media Influencers. Celebrity Studies, 8(2), 191-208. Kumar, N. (2014). Facebook for self-empowerment? A study of Facebook adoption in urban India. New media & society, 16(7), 1122-1137. Lievrouw, L. A. (2009). New media, mediation, and communication study. Information, Communication & Society, 12(3), 303-325. Madianou, M. (2014). Smartphones as polymedia. Journal of Computer-Mediated Communication, 19(3), 667-680. Manovich, L. (2009). The practice of everyday (media) life: From mass consumption to mass cultural production?. Critical Inquiry, 35(2), 319-331. McCormack, M. (2015). The role of smartphones and technology in sexual and romantic lives, p. 1-9. Merchant, G. (2006). Identity, social networks and online communication. E-Learning and digital media, 3(2), 235-244. Miller, Carolyn Handler. (2008). Digital storytelling A Creator’s Guide to Interactive Entertainment. Taylor & Francis. Mul, Jos de (2010). The Digitalization of Culture: Reflections on Multimediality, Interactivity, and Virtuality. In Cyberspace Odyssey: Towards a Virtual Ontology and Anthropology, pp. 805-102. Shefrin, E. (2004). Lord of the Rings, Star Wars, and participatory fandom: Mapping new congruencies between the internet and media entertainment culture. Critical Studies in Media Communication, 21(3), 261-281. Shirky, Clay. "The political power of social media: Technology, the public sphere, and political change." Foreign affairs (2011): 28-41. Shugart, H. A. (1999). Postmodern irony as subversive rhetorical strategy. Western Journal of Communication (includes Communication Reports), 63(4), 433-455. Sung, W. (2016). A study of the digital divide in the current phase of the information age: The moderating effect of smartphones. Information Polity, 21(3), 291-306. Thelwall, M., Sud, P., & Vis, F. (2012). Commenting on YouTube videos: From Guatemalan rock to el big bang. Journal of the American Society for Information Science and Technology, 63(3), 616-629. Van Ham, P. (2001). The rise of the brand state: The postmodern politics of image and reputation. Foreign affairs, 2-6. Wajcman, J. (2008). Life in the fast lane? Towards a sociology of technology and time. The British journal of sociology, 59(1), 59-77. Wellman, B., & Rainie, L. (2013). If Romeo and Juliet had mobile phones. Mobile Media & Communication, 1(1), 166-171. |
Material Sharing
| MATERIAL SHARING | |
| Documents | yulearn.yeditepe.edu.tr |
| Assignments | - |
| Exams | yulearn.yeditepe.edu.tr |
Assessment
| ASSESSMENT | ||
| IN-TERM STUDIES | NUMBER | PERCENTAGE |
| Midterm | 1 | 100 |
| Quiz | ||
| Assignments | ||
| Total | 100 | |
| Contribution of Final Examination to Overall Grade | 50 | |
Course’s Contribution to Program
| COURSE CONTRIBUTION TO PROGRAM | ||||||
| No | Program Learning Outcomes | Contribution | ||||
| 1 | 2 | 3 | 4 | 5 | ||
| 1 | Defines basic concepts, theories, methods, and domains of study specific to radio, television and cinema by associating them with the findings and theories of humanities and social sciences. | X | ||||
| 2 | Demonstrates the responsibilities, effective participation, coordination, and planning skills essential for harmonious and efficient teamwork in the production processes relative to the radio, television and cinema fields. | |||||
| 3 | Generates media products in accordance with professional standards in various narrative forms and genres specific to the field by synthesizing up-to-date knowledge and skills for expertise acquired through applied and theoretical courses. | |||||
| 4 | Manifests professional knowledge and such skills as copywriting, image management, editing, sound design, producing and directing, media management in different fields of radio, television and cinema locally and globally. | |||||
| 5 | Holds responsibility in broadcasting by integrating national and international rules of law that media professionals should pursue with professional ethical principles. | X | ||||
| 6 | Comprehends the knowledge and skills related to institutional operation and management in the production and broadcasting processes of radio, television and cinema for the common interest. | |||||
| 7 | Evaluates radio, television and cinema fields analytically and critically from their institutional structuring to products regarding a wide range of cultural, artistic, economic, and social relations. | X | ||||
| 8 | Has the ability to collect visual, audio and written data, conduct research, evaluate, report and offer creative solutions in the fields of radio, television and cinema. | X | ||||
| 9 | Develops original projects for radio, television and cinema by following new technologies, developments, and ideas in the fields of art, culture, and media at the national and global planes. | |||||
ECTS
| ECTS ALLOCATED BASED ON STUDENT WORKLOAD BY THE COURSE DESCRIPTION | |||
| Activities | Quantity |
Duration (Hour) |
Total Workload (Hour) |
| Course Duration | 14 | 3 | 42 |
| Hours for off-the-classroom study (Pre-study, practice) | 14 | 3 | 42 |
| Mid-terms | 1 | 3 | 3 |
| Assignment | |||
| Final examination | 1 | 3 | 3 |
| Total Work Load | 90 | ||
| Total Work Load / 25 (h) | 3,6 | ||
| ECTS Credit of the Course | 4 | ||