| Academic Writing and Publishing | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Communication Theories and Researches I | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Communication Theories and Researches II | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 |
| Seminar | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Digital Art History | 0 | 0 | 1 | 3 | 3 | 1 | 0 | 0 | 2 | 0 | 0 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 0 | 3 | 0 | 2 | 0 | 0 |
| Documentary Cinema | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | | | | | |
| Social Gender and Media | 3 | 1 | 3 | 1 | 3 | 3 | 2 | 3 | 3 | 2 | 1 | 1 | 3 | 3 | 3 | 3 | 1 | 2 | 2 | 1 | 1 | 2 | 3 | 3 | 3 | | | | | |
| Social Research in Cinema | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 2 | 3 | | | | | |
| Cultural Studies On Television | 3 | 0 | 3 | 0 | 3 | 3 | 0 | 3 | 3 | 0 | 0 | 0 | 2 | 0 | 0 | 3 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 0 | 0 | 0 | 3 | 3 | 0 |
| Film Critique I | 1 | 3 | 1 | 3 | 1 | 1 | 3 | 1 | 2 | 3 | 1 | 1 | 2 | 0 | 3 | 1 | 3 | 1 | 1 | 3 | 3 | 1 | 1 | 3 | 1 | | | | | |
| Film Critique II | 3 | 3 | 0 | 3 | 0 | 1 | 3 | 1 | 2 | 3 | 0 | 0 | 0 | 3 | 3 | 0 | 2 | 1 | 0 | 0 | 0 | 0 | 2 | 2 | 2 | 0 | 0 | 0 | 1 | 1 |
| Periods and Directors in Turkish Cinema I | 3 | 3 | 2 | 3 | 2 | 3 | 3 | 1 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | | | | | |
| Periods and Directors in Turkish Cinema II | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Ethical Problems In Television | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Qualitative Research in Media and Visual Arts | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Modern Cinema | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Social Change and Imaging Technologies | 2 | 1 | 3 | 1 | 3 | 1 | 3 | 1 | 3 | 2 | 0 | 1 | 2 | 1 | 2 | 1 | 2 | 0 | 3 | 1 | 1 | 0 | 1 | 2 | 2 | 3 | 2 | 2 | 2 | 2 |
| New Media Theories | 3 | 1 | 3 | 1 | 2 | 2 | 1 | 1 | 3 | 1 | 1 | 1 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 2 | 3 | 3 | 3 | 3 | 1 | 1 | 3 | 3 |
| Postmodern Esthetics and Cinema | 2 | 3 | 2 | 3 | 2 | 2 | 3 | 1 | 3 | 3 | 0 | 0 | 2 | 3 | 3 | 2 | 3 | 0 | 3 | 3 | 3 | 0 | 3 | 3 | 3 | 2 | 3 | 2 | 2 | 3 |
| Political Economy, History, Media and Communication | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Auteaur Theory in Cinema | 2 | 3 | 0 | 3 | 0 | 0 | 3 | 0 | 0 | 1 | 1 | 0 | 0 | 0 | 1 | 0 | 3 | 1 | 0 | 2 | 3 | 0 | 2 | 1 | 2 | 0 | 2 | 0 | 2 | 2 |
| Recent History of the Turkish Film | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 3 | 0 | 0 | 0 | 3 | 0 | 0 | 3 | 2 | 2 | 2 | 0 | 0 | 2 | 2 | 0 | 2 | 0 | 0 | 2 |
| Experimental Cinema and Short Film | 2 | 3 | 1 | 3 | 2 | 1 | 3 | 0 | 2 | 2 | 0 | 1 | 1 | 1 | 3 | 0 | 3 | 0 | 1 | 3 | 2 | 0 | 2 | 0 | 2 | 0 | 3 | 0 | 0 | 1 |
| Presentation of Women in Cinema | 3 | 2 | 0 | 1 | 0 | 3 | 1 | 0 | 3 | 2 | 2 | 0 | 2 | 3 | 3 | 0 | 2 | 2 | 2 | 2 | 0 | 0 | 3 | 3 | 0 | 0 | 3 | 0 | 2 | 0 |
| Thesis | 3 | 2 | 2 | 2 | 1 | 2 | 1 | 1 | 2 | 2 | 1 | 1 | 1 | 2 | 2 | 1 | 2 | 1 | 2 | 1 | 1 | 1 | 3 | 3 | 3 | 1 | 1 | 1 | 3 | 3 |
| Thesis | 3 | 2 | 2 | 2 | 1 | 2 | 1 | 1 | 2 | 2 | 1 | 1 | 1 | 2 | 2 | 1 | 2 | 1 | 2 | 1 | 1 | 1 | 3 | 3 | 3 | 1 | 1 | 1 | 3 | 3 |
| Research in Area of Specialization | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 3 | 1 | 1 | 1 | 3 | 3 |
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