| Key Learning Outcomes | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 |
| Animation | 2 | 2 | 3 | 3 | 3 | 1 | 2 | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 2 | 2 | 2 | 2 | | | | | |
| Research Methods in Social Sciences | 1 | 2 | 2 | 2 | 2 | 1 | 1 | 1 | 1 | 1 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 1 | | | | | |
| Applied Research in Social Sciences | 1 | 2 | 2 | 2 | 2 | 1 | 1 | 1 | 1 | 1 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 1 | | | | | |
| Cultural Diversity and Communication | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Aesthetics | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 2 | 2 | 3 | 2 | 3 | 1 | 1 | 1 | 3 | | | | | |
| Introduction to Philosophy | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Philosophical Criticism and Art | 2 | 2 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 2 | 2 | 2 | 2 | 1 | 1 | 1 | 3 | | | | | |
| Basic Photography Applications | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 2 | 2 | 1 | 1 | 1 | 1 | 2 | 3 | 0 | 0 | 3 | 2 | 1 | 0 | 1 | 1 | 0 |
| Basic Photography | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 2 | 0 | 0 | 1 | 2 | 0 |
| Photography Project | 3 | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 1 | 1 | 3 | 1 | 3 | 3 | 3 | | | | | |
| Media Graphic | 2 | 2 | 3 | 3 | 3 | 3 | 1 | 1 | 3 | 3 | 2 | 3 | 3 | 2 | 2 | 2 | 2 | 1 | 1 | 2 | 3 | 2 | 2 | 2 | 2 | 2 |
| Economics | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 3 | 1 | 3 | 0 | 0 | 0 | 0 | 0 |
| Introduction to Communication | 3 | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 0 | 0 | 3 | 3 | | | | | |
| Theories of Communication | 3 | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 |
| Academic English III | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Academic English IV | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Academic English V | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Academic English VI | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Career Planning | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Volunteer Work | | | | | | | | | | | | | | | | | | | | | | | | | | |
| History of Culture | 1 | 1 | 2 | 2 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 3 | 3 | 1 | 3 | 1 | 2 | 1 | 1 | 1 | 2 | | | | | |
| Cultural Analysis in Television Programs | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Mythology I | 1 | 1 | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 2 | 3 | 2 | 2 | 0 | 0 | 2 | 2 | 1 | 3 | 0 | 2 | 2 |
| Mythology II | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Psychology | 1 | 1 | 2 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 3 | 3 | 1 | 2 | 1 | 1 | 1 | 3 | 1 | 1 | 1 | 3 | 3 |
| Social Psychology | 1 | 1 | 1 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 3 | 3 | 1 | 2 | 1 | 3 | 1 | 3 | 1 | 1 | 1 | 3 | 3 |
| History of Painting I | | | | | | | | | | | | | | | | | | | | | | | | | | |
| History of Painting II | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Political Science | 1 | 1 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 3 | 3 | 3 | 3 | 1 | 2 | 2 | 3 | 1 | 1 | | | | | |
| History of Art | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 3 | 2 | 0 | 3 | 0 | 0 | 0 | 3 | 0 | 1 | 0 | 0 | 0 |
| Basic Video Production | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 0 | 0 | 0 | 0 | 0 |
| Introduction to Film and Television | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 2 | 3 | 0 | 0 | 0 | 0 | 0 |
| Basic Techniques of Film | 2 | 3 | 1 | 0 | 1 | 1 | 2 | 1 | 3 | 1 | 3 | 1 | 1 | 2 | 1 | 1 | 2 | 1 | 2 | 1 | 1 | 2 | 1 | 3 | 2 | 1 |
| Basic Techniques of Television | 1 | 2 | 1 | 1 | 2 | 0 | 2 | 1 | 1 | 2 | 2 | 1 | 2 | 1 | 1 | 2 | 2 | 1 | 1 | 2 | 1 | 2 | 1 | 2 | 2 | 3 |
| Film Production Theory | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Photographic View | 0 | 2 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 1 | 2 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 2 | 2 |
| Visual Composition | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 1 | 2 | 1 | 2 | 3 | 1 | 1 | 2 | 3 | 3 | 1 | 2 | 1 | 1 |
| TV Production Design | 1 | 2 | 3 | 3 | 3 | 2 | 3 | 3 | 1 | 3 | 2 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 1 | 1 | 3 | 0 | 0 | 0 | 0 | 0 |
| Videography | 1 | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 1 | 2 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 2 | 1 | 1 |
| Sound Recording in Cinema and TV | 3 | 3 | 2 | 3 | 3 | 1 | 2 | 2 | 2 | 2 | 2 | 1 | 1 | 2 | 1 | 3 | 2 | 2 | 1 | 1 | 3 | 3 | 3 | 1 | 1 | 0 |
| Sound Techniques for Cinema and TV | 2 | 3 | 1 | 0 | 3 | 2 | 3 | 3 | 3 | 2 | 3 | 2 | 1 | 2 | 1 | 2 | 2 | 0 | 1 | 0 | 3 | 1 | 1 | 2 | 0 | 0 |
| Narrative and Cinema | 2 | 2 | 1 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 3 | 3 |
| History of World Cinema I | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 1 | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 3 | 0 | 0 | 0 | 0 | 0 |
| History of World Cinema II | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 1 | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 3 | 0 | 0 | 0 | 0 | 0 |
| Screenwriting I | 2 | 2 | 3 | 3 | 3 | 0 | 2 | 0 | 0 | 0 | 0 | 3 | 2 | 1 | 1 | 0 | 0 | 0 | 0 | 1 | 0 | 3 | 3 | 1 | 1 | 1 |
| Screenwriting II | 2 | 2 | 3 | 3 | 3 | 0 | 1 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 0 | 1 | 1 |
| Theories and Principles of Editing | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Visual Aesthetics | 3 | 3 | 2 | 2 | 2 | 1 | 3 | 2 | 1 | 2 | 3 | 3 | 3 | 3 | 2 | 3 | 2 | 1 | 2 | 3 | 3 | | | | | |
| Film Theory I | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | | | | | |
| Film Theory I | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | | | | | |
| Film Criticism and Analyses I | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | | | | | |
| Television Production | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | | | | | |
| Television Production | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | | | | | |
| Introduction to Film | 3 | 3 | 3 | 2 | 3 | 2 | 2 | 3 | 3 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 2 | 3 | | | | | |
| Style in Cinema | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 3 | 3 |
| Documentary Cinema | 3 | 3 | 3 | 2 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 1 | 1 | 2 | 3 | 0 | 2 | 1 | 2 |
| Seminar I | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Seminar II | 1 | 3 | 3 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 1 | 2 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 3 | | | | | |
| Film Project | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Contemporary World Cinema | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 2 | 3 | 3 | 2 | 3 | 2 | 1 | 0 | 0 | 0 | 1 | 0 | 0 | 1 | 3 | 3 |
| Interactive Media and Society | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 3 |
| Visual Structure of Film | 3 | 3 | 3 | 3 | 3 | 0 | 3 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 0 | 0 | 0 |
| Horror Cinema | 3 | 3 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 3 | 1 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 |
| Applications in Editing | 3 | 3 | 2 | 1 | 2 | 2 | 1 | 3 | 3 | 3 | 3 | 1 | 1 | 1 | 1 | 2 | 1 | 1 | 2 | 3 | 3 | 0 | 0 | 0 | 0 | 0 |
| Principles of Digital Content Creation | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 0 | 3 | 2 | 0 | 3 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 |
| Directing Mise-en-scene | 3 | 3 | 3 | 3 | 3 | 0 | 3 | 2 | 0 | 3 | 1 | 3 | 3 | 2 | 1 | 1 | 1 | 0 | 0 | 0 | 0 | 3 | 3 | 0 | 3 | 3 |
| History of Turkish Film | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 1 | 1 | 3 | | | | | |
| Video Camera Lighting | 2 | 2 | 3 | 2 | 3 | 1 | 3 | 3 | 3 | 3 | 1 | 1 | 0 | 0 | 0 | 1 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
| Film Camera and Lighting | 2 | 3 | 3 | 0 | 1 | 0 | 1 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 2 | 0 | 0 | 0 | 0 |
| Types of Television Programs | 3 | 3 | 3 | 1 | 3 | 3 | 2 | 1 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 2 | 1 | 1 | 1 | 1 | 1 | 2 | 1 | 2 | 3 | 3 |
| Film Genres | 2 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 2 | 1 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 2 | 3 |
| Televısıon Project | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Film Criticism and Analysis II | 3 | 3 | 2 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 3 | 3 | 0 | 0 | 0 | 0 | 3 | 0 | 3 | 0 | 3 | 3 |
| New Communication Technologies | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | 2 | 3 | 2 | 2 | 2 | 3 | 3 | | | | | |
| Film Theories II | 3 | 3 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 3 | 3 | 1 | 0 | 0 | 0 | 3 | 1 | 0 | 0 | 3 | 3 |
| Sociology of Film | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Video Art | 3 | 3 | 2 | 1 | 3 | 1 | 3 | 2 | 3 | 1 | 2 | 1 | 3 | 3 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | 2 | 1 | 3 | 3 | 3 |
| Video Art | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Inspection Methods in Television Broadcasting | 2 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 3 | 3 | 1 | 0 | 3 | 0 | 0 | 3 | 0 | 0 | 2 | 3 | 3 |
| Aesthetics of Documentary Filmmaking | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Educational Television Practices II | 3 | 2 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 1 | 3 | 3 | 1 | 3 | 2 | 1 | 1 | 1 | 2 | 3 | 3 | 1 | 2 | 2 |
| Communicating Sustainable Development Goals | 0 | 1 | 3 | 2 | 3 | 1 | 3 | 3 | 3 | 3 | 3 | 2 | 2 | 3 | 3 | 3 | 3 | 2 | 2 | 1 | 2 | 3 | 3 | 2 | 3 | 3 |
| Production and Directing I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | | | | | |
| Production and Directing I | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | | | | | |
| Production and Directing II | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | | | | | |
| Production and Directing II | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 3 | 3 | | | | | |
| Intercultural Communication | 3 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 3 | 3 | 3 | 3 | 1 | 3 | 3 | 3 | | | | | |
| Seminar III | 3 | 2 | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 1 | 3 | 3 | 3 | 0 | 0 | 3 | 0 | 2 | 0 | 0 | 0 | 2 | 2 |
| Film Adaptations | 2 | 1 | 3 | 3 | 3 | 2 | 0 | 0 | 0 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 0 | 2 | 3 | 3 | 3 | 3 | 3 | 3 |
| Contemporary Literature and Cinema | 2 | 2 | 3 | 2 | 1 | 1 | 1 | 1 | 1 | 1 | 1 | 3 | 2 | 2 | 3 | 1 | 3 | 1 | 1 | 1 | 3 | | | | | |
| Contemporary Turkish Cinema | 3 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 2 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 2 | 1 | 1 | 3 | | | | | |
| Science Fiction and Cinema | 2 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 3 | 3 | 3 | 3 | 2 | 2 | 0 | 0 | 0 | 2 | 0 | 0 | 2 | 3 | 3 |
| Contemporary Screen Narratives | 0 | 2 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 3 | 2 | 3 | 1 | 1 | 1 | 0 | 1 | 0 | 0 | 0 | 0 | 0 | 3 | 3 | 3 |
| Atatürk's Principles and History of Turkish Revolution I | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Atatürk's Principles and History of Turkish Revolution II | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Dramaturgy | 1 | 1 | 0 | 1 | 0 | 0 | 0 | 0 | 3 | 3 | 3 | 3 | 3 | 3 | 3 | 1 | 1 | 0 | 0 | 0 | 1 | 0 | 3 | 2 | 3 | 3 |
| Writing | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Speaking Skills | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Turkish Language I | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Turkish Language II | | | | | | | | | | | | | | | | | | | | | | | | | | |
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