MAFilm Television and New Media Production_1 Syllabus Mumbai University by munotes
Page 1
Cover Page
Sr.
No. Heading Particulars
1 Title of the
Course M.A.( Film, Television and New
Media Production)
Semester I II to IV
2 Eligibility for
Admission Any Graduates
3 Passing
Marks 40%
4 Ordinances /
Regulations ( if any) --
5 No. of Years /
Semesters 02 years & 0 4 semesters
6 Level √P.G. / U.G./ Diploma / Certificate
( Strike out which is not applicable)
7 Pattern Yearly / Semester √
( Strike out which is not applicable) UNIVERSITY OF MUMBAI
Syllabus for Approval
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Date: 20/2/2017
Signature :
Name of BOS Chairperson √ / Dean : __ Dr. Sunder Rajdeep
8 Status New / Revised √
( Strike out which is not applicable)
9 To be implemented
from Academic Year From Academic Year __ 2017 -18.
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AC__________
Item No. --------------
University of Mumbai
Revised Syllabus for the
M.A.(Film, Television and New Media Production)
Semester I II to IV
(As Per CBCS
With ef fect from the academic year 2017- 18 for
Semester I to IV)
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REVISED SYLLABUS INCLUDING SCHEME OF COURSES, SCHEME OF
EXAMINATION, AND MEDIUM OF INSTRUCTION FOR THE MASTER
OF ARTS ( Film, Television and New Media Production).
FEE STRUCTURE:
The fees for the course will be Rs 1, 14, 000/ ‐ for the entire course inclusive of tuition
fees
Note: The breakup per semester will b e as follows Rs 28,500/ ‐ per semester
Admission fees : 1000/ ‐
Tuition fees : 20,500/ ‐
Library Fees : 1000/ ‐
Computer Lab fees : 6000/ ‐
Additional Refundable Security deposit of Rs 10,000/ ‐ will be charged to the students
and will be refunded to them post the completion of the course provided there is no
loss to either equipments& library material.
MEDIUM OF INSTRUCTION: English.
Learners have the option of writing the examination in English or Hindi or Marathi
language.
INTAKE CAPACITY: 60
TEACHERS` QUALIFICATION :
The minimum qualification for a full time teachers` is Master in Media/ P ublic
Relations /Advertising/ Communication/Journalism / FilmStudies/ Television studies /
New Media/ Media Production and NET/SET.
PREAMBLE
1. Basic concepts
Credits: A course that is taught for 4 hours a week for a period of 15 weeks will carry
six credits.
Course credits: To qualify in a given course, a student will have to acquire six credits
in the course. Out of these, four credits are central teaching component and two
credits are for the self -study component. The self -study component will consist of
academic tasks outside the classroom that will be assigned by the teacher from time to
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time. The self -study component assigned in this manner will be related to or a n
extension of but not in lieu of the prescribed syllabus. The self -study component will
be given a weightage of 33% in the evaluation of the student. In case of courses with
practical component/ field -work components, four credits are for theory course and
two credits shall be practical component/filed -work component.
A student who acquires a minimum of 100 credits over four semesters will be
declared eligible for the award of the M.A. degree.
Courses: There shall be five types of courses: (i) Core Course ; (ii) Elective Course;
(iii) Interdisciplinary/Cross -disciplinary Courses; (iv) Audit Courses; (v) Project-
based Courses; (vi) Ability Enhancement Courses
(i) Core Course: Core courses are courses that impart instruction in the basic non -
specialized aspects of a discipline that constitute the minimum basic competency in
that discipline, regardless of any specialization that the learner might choose in the
future. Core -Courses shall be offered by the parent department. Core courses shall be
for six credits. Minimum 50% courses of the MA programme over four semesters
must be core courses.
(ii) Elective Courses : Elective courses shall be courses offered by the parent
department that impart instructions in specialized/advanced/supportive aspects of the relevan t discipline. Each department shall offer a pool of such courses from which a
student can choose. Elective Courses shall be for six credits. The syllabus for each
elective course will have a preamble clearly stating the course and the learner
objectives fo r the elective, along with the pre -requisites if any and a detailed list of
references.
(iii) Interdisciplinary/Cross Disciplinary Courses (I/C courses) : I/C courses shall
be offered by parent department and departments other that parent department. One
‘course basket’ shall be created for the same. Each MA program has to offer a
minimum of two courses and maximum of four courses in the basket. Every I/C course shall be for six credits. A student may opt for an I/C course offered by his/her
parent departm ent.
(iv) Audit Courses: Students can audit a course from the parent department as well
as from other departments in addition to the core, elective and I/C courses that are
mandatory, with the prior permission of the head/s of the relevant department/s. S uch
a student will have to apply in writing at most a week after the relevant course has commenced. For the audit course, a student shall attend lectures of the audited course.
The student cannot appear for the semester -end examination for the audited cour se.
However, the student shall appear for the internal examination/assessment. The audit course appears on the mark -sheet only when the student passes the internal
assessment with minimum 50% marks, failing to which, the student cannot claim the audit for that course. The internal marks shall not be displayed on final mark -sheet.
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The internal marks shall not be used for the credit computation. A student is permitted
to audit maximum four courses in the MA program.
(v) Ability Enhancement Course: The abilit y enhancement courses are skills based
course. The ability enhancement courses are to be offered at fourth semester.
(vi) Project based courses: Project based courses shall consist of a dissertation. Each
dissertation course will carry 10 credits. Every learner shall choose one project based
course.
2. Rules for programmes not having a practical component
2.1 :Four core courses shall be offered in semesters 1 and 2 each.
2.2 :Five elective courses shall be offered in the third semester. No other courses w ill
be offered in the third semester.
2.3 : The fourth semester shall consist of one ability enhancement course, one
interdisciplinary/cross disciplinary courses (I/C courses) and one project based
course.
2.4 : Each department will offer at least one I/C course during semester 4. The learner
can choose any one course from this basket, including the course offered by his/her parent department. The preamble to this course will clearly specify the prerequisites
for this course.
2.5 : A learner will have to apply to the relevant department in writing no later than
two weeks after the commencement of the fourth semester for taking the I/C course offered by that department.
2.6 : A learner can relinquish an I/C course chosen by him/her no later than two
weeks after the commencement of the fourth semester by applying to the Head of the
Department whose I/C course the student wishes to opt for. The application will have to be endors ed by the head of the Department whose I/C course the student has
relinquished and the Head of the parent department.
2.7 : The Head of the Department offering a specific I/C course will convey the marks
of the internal examination obtained by students ta king the course to the Head of the
parent department before the commencement of the end semester examination of the
parent department.
3. Dissertation courses
3.1 : Dissertation based courses will be offered in the fourth semester. Every learner
will h ave to choose one dissertation course, which will be for twelve credits. The
project based course will be in the form of a dissertation based on a live project or a
research assignment related to the specific discipline of the parent department.
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3.2 : Every Teacher from every department will announce four to five broad topics at
the beginning of the second semester, reflecting degree of relevance and rigor suitable
to a post graduate programme, along with an indicative reading list. These will be
screened by the Board of Studies in the subject and a final list of approved topics
along with a reading list will be displayed in the first week of the third semester.
3.3 : The student will submit a list of his/her three most preferred topics in the order
of pre ference by the fifth week of the third semester to the Head of the parent
department. 3.4 : Each Department will constitute a dissertation committee consisting of the Head
of the Department (Chairperson) and two other teachers from the department. The
purpose of this committee is to oversee the functioning of the dissertation component
in the department.
3.5 :All Master Degree holders with NET/SET (in Communication/Journalism/Film
Studies/ Public Relations/Electronic Media/Television Studies / New Media/ Media
Production ) from University of Mumbai , all PhD scholars and recognized post
graduate teachers of Mass Communication and Journalism will be guides for the
dissertation component.
3.6 : The dissertation committee will allocate students to guides in orde r of the
average of marks obtained in semesters 1 and 2.
3.7 : If it is felt necessary, the dissertation committee can assign a co -guide to a
student, depending upon specific disciplinary needs.
The student will make a preliminary presentation in the seve nth week of the fourth
semester. The presentation will be attended by the guide and a committee consisting
of two other teachers from the department. The committee will make necessary suggestions to improve the dissertation.
3.8 : The student will make a f inal presentation in the 10
th to the 12th week of
semester four. The presentation will be evaluated by the same committee that
evaluated the preliminary presentation. The criteria for evaluation will be as follows:
i) 10 marks for the quality of presentation
ii) 15 marks for answers to questions
3.9 : The marks given by the three members of the evaluation committee will be
averaged in each head and the total marks decided by totaling the averages under the three heads.
3.10 : The student will submit a bound hard copy of the dissertation to the
Department by the end of the fourth semester, along with a soft copy on a CD/DVD.
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3.11 : The final dissertation will have a word limit of 8000- 10000 words and will be
typed in one and a half spacing on one side of the paper.
3.12 : The final dissertation will be evaluated out of 50 marks by the guide, 50 marks
by any other teacher in the Department and 100 marks by an external examiner by
way of viva voce.
3.13 :The dissertation will be given a grade point as per the following scheme:
Note :H`ble Vice Chancellor is appointing a committee to finalized the gradation
chart.
3.14 : A student who gets a letter grade ‘F’ in the course will be deemed to have
failed in the course.
3.15 : A student who feels aggrieved by the grading received will have the option of
applying to the project committee for re -evaluation of the dissertation within a period
of one week after the declaration of the result. If the dissertation committee feels tha t
the claim is justified, it shall appoint a fresh examiner who will submit his/her evaluation in a week’s time. If the marks by the re -evaluating examiner exceed the
marks of the original examiner by a margin of 10% or more, the latter set of marks
will b e considered final.
3.16 : The student who has got a letter grade ‘F’ in the dissertation will have the
option of resubmitting a revised version within 2 months from the date of declaration
of the result. If a student fails this time too, he/she will not get any more chances and
will be ineligible to be awarded the MA degree.
3.17 : If a student is unable to submit his/her dissertation in the stipulated time or fails
to make the presentations at the appointed time, he/she will be deemed to have failed the course and will have the option of submitting within 2 months from the date of
declaration of the result. If a student fails this time too, he/she will not get any more chances and will be ineligible to be awarded the MA degree.
3.18 : The schedule for pr eliminary presentation, final presentation and dissertation
submission will be displayed in the first week of the fourth semester.
3.19: Ethical Standards regarding Dealing with Human Participants:
Students should refrain from acts which he or she knows, or under the circumstances
has reason to know, spoil the academic integrity of the academic program. Violations of academic integrity include, and not limited to: plagiarism; violation of the rights
and welfare of human participants in research and practi ce; cheating, knowingly
furnishing false information; misconduct as a member of department or college, and harm to self and others.
4. Evaluation of non -project courses
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4.1 :The examinations shall be of two kinds:
(i) Internal Assessment
(ii) Semester End Examination.
4.2 :The learner who obtains less than 40 % of the aggregate marks of the relevant
examination in that course either in the internal assessment or in the end – semester
examination will be awarded the letter grade `F’ in that co urse.
4.3 :Internal Assessment: The internal assessment shall be for 40 marks. Two
internal assessment examinations shall be scheduled for a course. The internal
examination is to be conducted by the course teacher. The schedule for the internal
assessmen t is announced within two weeks of the commencement of the semester. Of
the two exams one will be in the form of a written test involving theory and the other will be in the form of extension work or assignment or term work. The answer -sheets
for internal examination shall be masked before evaluation. The evaluated answer -
sheets and marks shall be shown to the students on the date announced in advance.
4.4 :The existing rules for moderation of answer sheets will be followed in the case of
internal examinations in core courses.
4.5 :Semester -End Examination: The semester end examination shall be for 60
marks.
4.6 :If a student is absent from the internal or end semester examination in any course
including the dissertation course, he/she will get a grade point of 0 and a letter grade
of `F’.
4.7 : If a student fails in the internal examination of a core or elective course, he/she
will have to appear for the internal examination of the course when the course is
offered again.
4.8 :If a student fails in the end- semester examination of a core or elective course,
he/she may reappear for the same examination when it is held again in the following
semester. A student can appear at the most three times, including the original attempt.
If a student obtains a letter grade F in all the three attempts, he/ she will have to seek
fresh admission to the MA programme.
4.9 : If a student obtains the letter grade ‘F’ in any course in a given semester, the
letter grade ‘F’ will continue to be shown in the grade card for that semester even when the student passes the course subsequently in another semester.
4.10 : If a student obtains minimum 40% marks in the internal assessment and fails to
obtain minimum 40% percent marks in the end- semester examination of any course in
any of the semester, the marks of the internal examination shall be carried forward.
4.11 : The letter grade a nd the grade point for the course will be computed as per 3.13
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4.12 : In any semester, the students GPA will be calculated as follows:
where
= credits for that course offered in that
semester and
= grade point obtained in that course offered in that semester.
Cumulative Grade Point Average (CGPA m) at the end of semester m is calculated as
follows:
, where,
is the credits for the ith course offered in semester
j and
is the grade point obtained in the ith course in semester j. There shall be no
rounding of GPA and CGPA.
4.13 : The semester wise GPA and CGPA shall be printed on the gr ade card of the
student along with table in 3.13
4.14 : The final semester grade card shall also have the aggregate percentage marks
scored by the student in all the courses in which the student has obtained the relevant
credits.
4.15 : The rules for graci ng: the existing ordinance for gracing shall continue to be
used.
4.16 : The rules for ATKT will be as per University norms.
5. Rules for MA programmes with practical component/field work components
are as follows:
5.1 :Four core courses shall be offered in semesters 1 and 2 each.
5.2 :Five elective courses shall be offered in the third semester. No other courses will
be offered in the third semester.
5.3 : The fourth semester shall consist of one ability enhancement course (6 credits),
one interdisciplin ary/cross disciplinary course (6 credits) and one project based course
(10 credits).
5.4 :The semester having Practical Component / Field Work Component shall be
given four teaching hours per week per theory (core/elective) course. Each
core/elective cour se shall have 4 credits in such semester.
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5.5 : There shall be 2 credits Practical Components/ Field Work Component per
theory course (core/elective) in a semester one to three. The credits for practical and
theory courses are obtained separately.
5.6 :There shall be 8 credits Practical Component/ Field Work Component in
semester one and two. There shall be 10 credits Practical Component/ Field Work
Component in semester three. There shall be no practical/field work component in
semester four. The practical/field work component shall be elective in semester three.
6. Evaluation of non -project courses and practical component /field work
component for courses having practical/field work component.
6.1: The examinations shall be of two kinds:
(i) Internal Assessment = 40 marks comprising of a class test and
practical/field/extension component.
(ii) Semester End Examination = 60 marks.
6.2 : The learner who obtains less than 40 % of the aggregate marks of the relevant
examination (16/40 for Interna l and 24/60 for Semester End) in that course either in
the internal assessment or in the end –semester examination will be awarded the letter grade F in that course.
6.3 :Internal Assessment for theory courses: The internal assessment shall be for 40
marks. Two internal assessment examinations shall be scheduled for a course. The
internal examination is to be conducted by the course teacher. The schedule for the
internal assessment is announced within two weeks of the commencement of the
semester. Of the two exams one will be in the form of a written test involving theory
and the other will be in the form of extension work or assignment or term work. The
answer -sheets for internal examination shall be masked before evaluation. The
evaluated answer -sheets and marks shall be shown to the students on the date
announced in advance.
6.4 :Internal Assessment for practical component/ field work component. The
evaluated practical/field work submission material and marks shall be shown to the students on the date announced in advance.
6.5 :The existing rules for moderation of answer sheets will be followed in the case of
internal examinations in core courses excluding practical component/ field work component.
6.6:Semester -End Examination: The semester end examinati on shall be for 60
marks for theory courses (core /elective) and for practical component/field work component. The semester –end examination for practical component/ filed work
component shall be conducted separately.
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6.7: If a student is absent from the i nternal or end semester examination in any course
including the project course and practical/field -work component, he/she will get a
grade point of ‘0’ and a letter grade of ‘F’.
6.8: If a student fails in the internal examination of a core or elective co urse, or
practical/field work component, he/she will have to appear for the internal
examination of the course if and when the course is offered again.
6.9: If a student fails in the end -semester examination of a core or elective course or
practical/filed work component, he/she may reappear for the same examination when
it is held again in the following semester. A student can appear at the most three
times, including the original attempt. If a student obtains a letter grade F in all the
three attempts, he/ she will have to seek fresh admission to the MA programme.
6.10 : If a student obtains the letter grade F in any course in a given semester
including practical/filed work component, the letter grade F will continue to be shown in the grade card for that semester even when the student passes the course
subsequently in another semester.
6.11 : If a student obtains minimum 40% marks in the internal assessment and fails to
obtain minimum 40% percent marks in the end- semester examination of any course in
any of the semester, the marks of the internal examination shall be carried forward. 6.12: The letter grade and the grade point for the course will be computed as in 3.13.
6.13: In any semester, the students GPA will be calculated as follows:
where
= credits for that course offered in that
semester and
= grade point obtained in that course offered in that semester.
Cumulative Grade Point Average (CGPA m) at the e nd of semester m is calculated as
follows:
, where,
is the credits for the ith course offered in semester
j and
is the grade point obtained in the ith course in semester j. There shall be no
rounding of GPA and CGPA.
6.14 : The semester wise GPA and CGPA shall be printed on the grade card of the
student along with table 3.13.
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6.15 : The final semester grade card shall also have the aggregate percentage marks
scored by the student in all the courses including practical/filed work component in
which the student has obtained the relevant credits.
6.16 : In case, if it is required to scale the internal assessment marks and end -semester
examination marks to 400 marks per semester and 1600 marks for entire MA course,
then internal assessment marks, end -semester examination marks and total marks
shall be multiplied by factor 0.8.
6.17: The rules for gracing: the existing ordinance for gracing shall continue to be
used.
7. SCHEME OF COURSES
Semester I
Course Code Name of Course
A. Core Courses Term work
Teaching and Extension Credits
38PAFTNMP 101 Writing for Media 3860 6
38PAFTNMP 102 Photography & Cinematography 3860 6
38PAFTNMP 103 Sound Design and SFX 3860 6
38PAFTNMP 104 Film & TV T heory &
Appreciat ion 3860 6
Total 38240 24
Semester- I
Course Code : PAFTNMP 101
WRITING FOR MEDIA
Objectives:
• To understa nd the st ructure of screenplay
• To underst and the intricacies of s creen writing
• To learn the build characters and write meaningful dial ogues
• To learn in detail writing for internet
• To understand the need for storyboarding
• To understand various storyboarding techniques.
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Unit -I
Introduction to Screen writing : I ntroduc ing the Art o f Screen writ ing, Preparing to
Think Visually.
Unit -II
The Art and craft of Screen writing : Diving In to t he Screen writ er’s Mi nd,
Approachi ng Screen writing and C raft, Breaking Dow n the Ele ments of a Stor y,
Unpacki ng Your I dea.
Unit - III
The Forma to factory : Plot Pa rt I : Begi nnings, Plot Part- II : Middles, Plot Part -III
: Endi ngs.
Unit-IV
Arc of C haracterization : C haracter Build ing, Constructing Dynamic Dialogue, Th e
Nontraditional Film, Maintain ing an A udience’s Trust.
Unit-V
Script & Screen play Fundamentals : Turning Your S tory into a Scri pt, Ma pping
Out Your Screenpla y, Surviving Writer’s Bl ock, Formatting Your Screen play,
Putting It Together: Str ucturing Your First Draft, Take Two: Rewriting You r Scrip t,
Adaptation and Collaboration :Two Altern ate W ays to W ork.
Unit -VI
Writing for the internet: How internet writing is different from conventional
writing, Blogging, Reputation management, Development of Blogs, Writing for social
media, Writing for SEO & SMO.
Unit -VII
Intro to Storyboarding/Visual Story telling & Storyboards: Origins of Story
boards and aspect ratio.
Unit - VIII
Fundamentals of Shots: Terminology of Shoots, Camera Framing, Camera Angles
and Movements.
Unit - IX
Storyboarding Techniques: Concept ‐ what the story is about ‐ Drawing the
components of the storyboard, Indicating motion in the storyboard, Increased reality‐
perspective and lighting.
Unit - X
Composition, Perspective & Lighting: Compositional Elements,
line‐shape ‐contrast, creating meaning within ima ge, Creation of depth through lens
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choice and linear, atmospheric and size perspective, High ‐ Key Lighting, Low key
Lighting, 3 point Lighting, Tonal quality of lighting.
Unit - XI
Continuity: Basic Rules of continuity, 180 – Degree rule, screen direction, Cutaways
& Cut ‐ins.
Unit - XII
Story Boards for Animations & Special Effects Films: Structure of animation
films, Special effects breakdown, creating the environment.
Unit - XIII
Story Boarding for Commercials and New Media: Structure of commercials,
elements of brand building to be implemented, special colour scheme for brands and
products
Textbooks:
1. How not to wr ite a scree nplay:101 common mistakes most screen writers
make b y Denny Ma rtin Flinn.
2. Screen Adapt ation : A Script w riting H and book by Kenneth Portnoy.
3. Screen play :The Foundations of Screen writing By S yd Field.
Reference Books:
1. The Screenwriter's Bible B y David Trottier
2. Screen writing f or a Global M arket : Selling Your S cripts from Hollywood
to..By A ndrew Horton.
3. Screen writing for Dummies By Laura S chell hardt.
4. Screen writing :The S equence Appr oach By Paul Joseph Gul ino.
5. The Tools of Screen writing By David How ard, Edward M abley.
6. The Art of Screen writing : An A to Z Guide to Writing a S uccessful Scree n
play By William Packard.
7. Writing the Character‐ Centered Screen play By A ndrew Ho rton.
****
Course Code : PAFTNMP 102
Photography and Cinematography
Objectives:
• To learn art of Photography & cinematography in film making.
• To understand the intricacies involved in taking a photograph.
• To understand what makes a good picture.
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• To develop basic photographic sense and knowledge.
• To enhance the knowledge about lighting and its use.
• To understand various equipment’s requir ed for various form of lighting.
• To understand the various camera, lenses and digital cinematography.
Unit - I
Development of Photography over the years : Brief History of Photography, early
photography methods, switch from film to digital, difference between film and digital
photography, formats of images in digital.
Unit - II
Cameras & Techniques: Types of camera, film cameras V/S digital cameras, lenses
and their importance, Story Design and Development, Laws of Composition, Gestalt
Law and Visual Perception, Semiotic photography.
Unit - III
Lighting Theory & practice: Sources of Lighting, 2 point lighting, 3 point lighting,
creating contrast, outdoor na tural lighting, related accessories for lighting.
Unit - IV
Post production of Photos, Digital Image Editing :
Photoshop : Processing of Raw images, Introduction to Adobe Photoshop and image
ready software, how to enhance the photo digitally.
Unit V
Photo Essays, Studio Photography: Introduction, creating your own Photo essay,
Studio Lighting, Building up your essay.
Unit - VI
Photography & advertising : Advertising photography techniques, understanding
the copy and message, setting the environment, working with medium & large format
cameras for advertising | Unit VII Outdoor & Wild Life Photography: Learning the
environment and subject, shooting in the wild, understanding the subject, camera
traps, Checklist.
Unit - VII
Power of a Picture: Power of a still picture, Shooting a good Still picture,
Composition ‐Framing , Understanding & Use of color, Capturing the Drama, Black
and white Photography, Color Imaging, Color Psychology, Aesthetics of Painting and
Spatial Arts, Learning the camera language.
Unit - VIII
Light: Role of light, Lighting techniques, Concept of lighting various planes,
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Understanding Various types: Tungsten lamps, Cool Lights, HMI,
Cyclorama/background lights, Soft Box lights., Use of cutter stand, black cloth and
Camera filters, barn doors | use of reflectors, Three point lighting, Ratio lighting: 1:2,
1:3, 1:4, Creating various Background patterns and types, Lighting – Situations,
Studio lighting for three cameras set up: Talk Show, Game Show, Available day light situations, S hooting for Documentary style, Face lighting. Key, fill, back light, Depth
of field Exercise, High key lighting, Low key lighting.
Unit - IX
Lenses: Type of Lenses, Power of Lenses, Understanding the shot requirement and
usage of a lens, Idea of perspective: Depth Of Field, Depth of focus, Critical
understanding of Fixed Lens Vs. Zoom Lens, Focus pulling, 18% grey card,
Metering, Color temperature met er-
Unit - X
Camera Movements: Basic grammar of shots, Primary Camera Movement: Pan, Tilt,
Zoom, Character Movement, Usage and need of Track and trolly, Crane, jimygip, Poll
Cam, Managing Movements, Single camera Setup, Multi camera setup, Continuity
Exercise, Do’s and don’ts of camera movements, Aesthetics and Psychological
Impact of Moving Images, Various parts of Motion picture cameras, Moving
Image ‐Motion Picture. Impact of collective moving Images, Motion Picture
Dynamics.
Unit - XI
Understanding digital video recording: Principle of video recording, Digital
Recording Formats, Editing and compression, Digital sampling and storage,
Technical formats of video ‐ PAL, NTSC, “Time Code” in Video Recording, Film
Stock and Processing.
Unit - XII
Structure of Film and Digital Camera: Understanding the internal structure of
camera, perforation loop, pressure plate, Pull down claw, Magazine: Types of
magazine, Threading of film, Intermittent Movement, Analysis of Claw motion,
Registration pin, Sprocket wheel, Frames per sec, Camera Motors, Slow motion and
Fast motion, Reverse Movement, Lens Mount Flange Depth, Magazine Cover/rain
cover, Digital Process of Image capturing, Latitude of film Camera format, Latitude
of digital format, Shooting Format ‐16‐mm/35 ‐ mm/7 0‐mm/super.16/I ‐max/3 ‐D,
Convenience of Digital format, The Future of Film Formats.
Unit - XIII
Special Effects and Cinematography: Chrome key Concept
Preparation for chrome key, Compositing a digital Picture, Digital matte painting.
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Unit - XIV
Mood Light ing &Colour Lighting Theory & Practice: Red, Blue, Green, Purple &
Orange lights and Treatments for Various Scenes, Colour and Cultural.
Unit - XV
Image formation (Understanding requirements of a director), Capturing the drama on
the camera, How to create packets of emotional experience ‐Scene, Creation of
Drama ‐ Ingredients of a Drama.
Unit - XVI
Understanding the needs of Co‐ creators (Director, Editor, Sound Recordist)
Text books :
1. The Art of Photography; by Bruce Barnbaum.
2. Creative Nature & Outdoor Photography; Brenda Tharp.
3. Chasing the Light by IbarionexPerello.
4. Camera Terms and Concepts by David Elkins.
5. The Camera Assistant by Doug Hart.
6. Motion Picture Camera and Lighting Equipment by David Samuelson.
7. The Five C's of Cinematography: Motion Picture Filming Techniques by Joseph
V. Mascelli.
Reference Books:
1. Cinematography‐ A Guide for Filmmakers and Film Teachers by Kris
Malkeiwicz.
2. Film Lighting: Talks with Hollywood's Cinematographers and Gaffers by Kris
Malkiewicz.
3. The Art of the Cinematographer: A Survey and Interviews with Five Masters by
Leonard Maltin.
4. Anton Wilson's Cinema Workshop by Anton Wilson.
5. Image Control ‐Motion Picture and Video Camera Filters and Lab Techniques
by Gerald Hirschfeld.
6. Lighting for Film and Electronic Cinematography by John David Viera and
Dave Viera.
7. Painting with Light by John Alton.
8. Picture Composition for Film and Television by Peter Ward.
9. Matters of Light and Depth‐ Creating Memorable Images for Video, Film and
Stills Through Lighting by Ross Lowell.
10. Lighting Technology by Fitt and Thornley Set Lighting Technician's
Handbook by Harry C. Box.
11. Digital Cinematography by Ben De Leeuw.
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Course Code : PAFTNMP 103
Sound Design and SFX
Objectives:
• To learn about the sound basics
• To understand the nature of sound and recording devices
• To learn the basics of sync sound, mixing console, analog v/s digital workflow
• To understand the need for sound and importance of sound in film
• To learn to record & produce audiography for a short film
Unit - I
Basics of Sound: Nature of acoustical waves, concepts of amplitude, and frequency,
wavelength, harmonics. Psycho‐ acoustics: Nature of hearing and perception of sound,
including concepts of pitch, loudness, and timbre; the precedence effe ct; localization
in rooms; equal loudness contours; and other mysteries of hearing.
Unit - II
Principles of Stereophony, Sound for Film and Video : The sound track – its
importance in an AV medium, Different elements of a sound track, Explanation of
how sound is put to the film. Sync Sound ‐ The size of the role sound should play in
your film will vary depending on your professor's requests, but when it comes to the
technical side of things, you are at least required to know how to achieve
synchronized sound and picture with film.
Unit - III
Interconnectivity of Analog & Digital Equipment: Basic analog connectors,
cabling, patch – bay, interconnectivity between various recording studio equipment.
Various Digital interconnects and their sockets on the digital equipment. Microphones
Types ‐ Dynamic, Condenser, Ribbon, Polar Pattern, Sensitivity. Microphone designs
for special applications,
Unit - IV
Acoustics I (Fundamentals) :The behavior of sound in outdoors and in closed spaces;
Absorption, reflection, diffraction, refraction, reverberation, Mixing Console Basics
‐The signal flow and various auxiliary systems. Digital Audio ‐ Analog to Digital to
Analog conversion. Sampling Frequency, Bit Rates. Problems in digital audio.
Different digital media, Standard digital recording & mastering formats. Audio file
formats, storage mediums – optical, magnetic, Jitter etc.
Unit - V
Computers in Audio: Differen t platforms – different operating systems,
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Configuration of a PC for sound recording. Mother Boards, Processor, Sound Card,
Graphic card, Monitors Recorders ‐ Analog, Digital, Tape Based & Tapeless, Digital
Audio Workstations (DAW’s), Film Showcase ‐ Case studies of famous Indian as
well as foreign films, Microphone Techniques ‐ Placement, Applications, Proximity
effects etc. microphones and placement techniques for stereo recording. Monitoring
Systems ‐ Active & Passive types, Domestic and professional listening environment,
Stereo and surround monitoring.
Unit - VI
The Production Process of a Song: Music Basics. – Types of Music, Concepts of
Melody, Harmony, Rhythm & counter melody etc. Format of a song ‐ Preproduction,
Tracking, Overdubbing, Editing, Mixing and Mastering. -Processors ‐ Theory of
Tonal, Dynamic & Spatial processors.
Unit - VII
Equalisers : types and their application, Compressors & Limiters ‐ theory and
application, Effects processors - Reverberation and Delay devices and their plug in
counterparts. Film Showcase Advanced - Case studies of famous Indian as well as
foreign films from sound technology point of view
Unit - VIII
Acoustics II: Room Acoustics, Room Modes, RT 60, Absorption Coeffic ients,
Acoustical Control Devices, Diffusers and Absorbers, Control Room Design
Principles, sound isolation, Studio Construction Techniques; Sound for film, Location
sound, Radio microphones, uses and potential difficulties, Boom operation for sync
sound, Hands -on training in
location sound recording for video.
Unit - IX
Post Production: Recording and dubbing dialogues (ADR), Effects - sourcing and
recording. Background music score, sourcing and recording. Nuendo Basic: Basic
principles, understanding the process from initial set up to completion of a project. To
set up for a vocal/instruments dub.
Unit - X
Principles of Mixing, The basic techniques of mixing and the fundamental approach.
The Building Blocks of Mixing, Setting the sound stage, and the sonic implications of
panning and of placing instruments at varying distances from the listener; Consideration of different approaches to getting desired results from EQ; A
comprehensive review of the uses of dynamic processor; on Individual channels and
Mix ma ster; Finishing a mix with automation. "Mixing in the box." And “Mixing
through the board.” Nuendo Advanced: Introduction to mixing, Making MIDI recording, MIDI
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sequencing of software synthesizers, audio looping, Final mix down in the software.
Unit - XI
Making a final CD of your project, Mixing Techniques, Assembling the mixer, Using
Aux/Master tracks to their advantage, Plug -ins and their application, Production of the
Sound Track for the student project film: Discussing sound design strategy with the director of the film at pre -production stage, attending film sync shoots.
Unit - XII
Video File formats, Acquiring picture for post -production from edit suite. Dubbing
the dialogues wherever necessary, Selecting SFX and BG music from the library,
recording Foley and music as per the demand of the script. Mixing the final track.
Export it to the editor, supervise the final assembly of the film.
Text books:
1. Pro Tools 9: Music Production, Recording, Editing and Mixing By Mike
Collins.
2. Pro Tools Allin One Desk Reference for Dummies By Jeff Strong.
3. Sound for Film and Television by Tomlinson Holman.
Reference Books:
1. Sound for Digital Video By Tomlinson Holman.
2. Producing for TV and Video: A Real world Approach by CathrineKellison.
3. Sound for picture: an i nside look at audio production for film and television By
Jeff Forlenza, Terri Stone.
4. Audio in Media By Stanley R. Alten.
5. Master Handbook of Acoustics By F. Alton Everest.
6. Modern Recording Techniques By David Miles Huber.
7. Mastering Audio By Bob Katz.
8. Mixin g Audio ByRoeyIzhaki.
9. Practical Recording Techniques By Jenny Bartlett.
10. Critical Listening Skills for Audio Professionals By F. Alton Everest.
11. The Audible Past By Jonathan Sterne.
****
Course Code : PAFTNMP 104
FILM & TELEVISION TH EORY AND APPRECIATIO N
Objectives :
• To learn the history of cinema.
• To understand the basics of various movements in cinema.
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• To learn about world cinema and their prominent masters.
• To understand the studio system.
• To Learn Indian cinema in -association with world cinema.
Unit I
Understanding Cinema: Genres of Films, Cultural significance in relation to Film,
world cinema and world view, Film Screening.
Unit - II
Understanding story telling techniques of Cinema Masters: Important elements of
storytelling of cinema masters, How the plot has been developed, how the
characterization has been done, the ups and downs.
Unit - III
World Cinema Study of Iconic Film Directors and their styles: Study of Satyajit
Ray, V Shantaram, Ingmar Bergman, George Lucas, Fredrico Fellini, Steven
Spielberg, MajidMajidi, Akira Kurosava, etc.
Unit - IV
Introduction to various theories of Films & Important Movements: Apparatus
theory, Auteur theory, Feminist film theory, Formalist film theory, Realism
Movement, Neo Realism movement.
Unit - V
Television structures and systems, Narrative structure of television stories
Building the narrative: character, actor, star, beyond and beside narrative structure,
the television commercial, modes of production, mise -en-scene, videography and
cinematography, style and editing, sound, textual analysis discourse and identity,
music.
Unit - VI
Defining the television medium, analyzing television genres, decoding television
texts, analyzing factual TV and Documentaries, analyzing TV fiction and televi sion
drama, television audience reception and consumption, television and history, television institutions and regulations, television and globalization and the Future of
Television.
Text books :
1. Film As Film: Understanding And Judging Movies by Victor F. Perkins.
2. Understanding the Film: An Introduction to Film Appreciation, Student Edition
by Jan Bone, Ron Johnson.
3. Theory of Film: The Redemption of Physical Reality; By Siegfried Kracauer.
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Reference Book s :
1. Screen Education: From Film Appreciation to Media Studies; By Terry Bolas.
2. Asian Film Journeys: Selection from Cinemaya By Rashmi Doraiswamy, Latika
Padgaonkar.
3. How Movies Work By Bruce F. Kawin.
4. Film Study: An Analytical Bibliography, Volume 1 By Frank Manchel.
5. The World Viewed: Reflections on the Ontology of Film By Stanley Cavell.
6. A Short History of Film By Wheeler W. Dixon, Gwendolyn Audrey Foste
Semester II
Course Code Name of Course
A. Core Courses Term work
TeachingandExtension Credits
38PAFTNMP 205 Post P roduction & Computer
graphics 3860 6
38PAFTNMP 206 New Media Theory and Practice
3860 6
38PAFTNMP 207 Direction
3860 6
38PAFTNMP 208 Practical Film Production
(FICTION AND NON
FICTION) 3860 6
Total 38240 3824
Course Code : PAFTNMP 205
POST PRODUCTION & COMPUTER GRAPHICS
Objectives :
• To understand the basics of video editing and aesthetics.
• To understand the various types of editing and various possibilities like rhythm
& pace, dramatic continuity, etc.
• To understand Pinnacle studio, adobe editing software and mac interface.
• To understand the various edit styles and patterns.
• To understand the digital v/s analog editing.
Theory :
Aesthetics / Principles of editing, Spatial & Temporal possibilities, Manipulation of
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time, Rhythm & Pace, Dramatic Cont inuity, Soviet school of editing ‐DzigaVertov,
Eisenstein, Pudovkin, French new wave – Godard, Chabrol , Classical Hollywood
narrative in sound era: Hitchcock, Individual departures from classical Hollywood
narrative: Bunuel: Discontinuity, Dreyer: Close up, Bresson : Minimalism, Renoir:
Deep Focus, Long takes, Ozu : Breaking 180degree rule, Pillow shots, L inear &
Nonlinear Editing, Analog & Digital Recording.
Practical :
Introduction to Pinnacle Studio, Adobe Premier Pro and Mac Interface, Arranging the Interface, Learning Custom Layout, Customizing the keyboard Layout, Setting
Scratch Disk, Bin management , Logging, Digitizing, and Capturing, Saving Projects
and Accessing the Auto save Vault, Organizing Video Footage, Media Management, Insert and Overwriting Editing, Three point Editing, Split Edit, Working with Multi
Layers, Key framing Image, Time Remappi ng, Effects, Applying Transitions,
Compositing, Motion Tab, Render Setting, Titling, Sound Editing, Track laying (Effects, Music, Narration), Dubbing and Syncing, Adjusting Audio Levels, Mix
down Audio, Premier Compatible and Supporting Software, Print to Video.
Textbooks :
1. Editing Digital Video By Robert M. Goodman, Patrick J. McGrath
2. Video Editing and Post ‐Production: A Professional Guide By Gary H. Anderson
3. Digital Video For Dummies By Keith Underdahl.
Reference Books:
1. The Technique of Film and Video Editing: History, Theory, and Practice By Ken
Dancyger.
2. Nonlinear Editing Basics: Electronic Film and Video Editing By Steven E. Browne.
*****
Course Code : PAFTNMP 206
NEW MEDIA THEORY AND PRACTICE
Course Objectives:
• With the world communicating increasingly using mobile devices, it is time that media students gear up to face the challenge of creating content for digital
media devices. It is no more enough to simply write a good copy; it is equally
important that media students become technically competent enough to create
content for all possible media – print, television, radio, the Internet, and
mobile devices. One should understand that though the story remains the
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same, the presentation for each of these media diff ers and with the industry
expecting the moon from you, you need to be multi -tasking individuals,
especially in terms of being able to use digital technology well, both, as
users/consumers and as creators.
• Before we study how to create content, however, we must be conversant with
how new media has developed and what the social, political and economic
effects that the new media technologies have brought about, and what could be
their future repercussions. The salience of theory is in the fact that it is theor y
that helps us to understand a phenomenon and how we can deal with it while putting into practice the tools we learn to create content. It is expected that
you read up before attending lectures.
UNIT- 1: VISIONS, HISTORIES, MEDIATION
Visions Historie s Mediation
UNIT- 2 : TECHNOLOGY: ARTEFACTS, SYSTEMS, DESIGN
Technology and Society
Communication Technologies in Transition
Computers as Media
UNIT- 3: PRACTICES: INTERACTION, IDENTITY, CULTURE
Interaction/Computer -Mediated Communication
New Media and Community
Identity and Self
Everyday/Domestic Contexts of New Media
New Media and Cultural Practices
UNIT- 4: SOCIAL INSTITUTIONS, STRUCTURES, ARRANGEMENTS
Information Society: Debates
Policy, Law and Regulation
New Media Economics and Markets
Politics and Power
References Books :
1. New Media A Critical Introduction 2nd Edition.
2. New Media Handbook Media Practice.
3. New Media Old Media A History and Theory Reader.
4. The Language of New Media - Lev Manovich.
5. Winston Brian – Media Technology and Society A History fromthe Telegraph
to the Internet.
6. McLuhan - Understanding Media - Extensions of Man.
*****
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Course Code : PAFTNMP 207
Direction
Objectives:
• To understand the need for direction in television & Films.
• To understand the role played by a director.
• To understand the Qualities required being a director.
• To learn how to manage creativity and creative team.
• To learn to direct scene in various settings.
Unit - I
Stills to motion picture, A Perspective on ‐ Impact of a still picture, Ana lyzing a
picture, Critical Ingredients ‐ Leonardo Da Vinci, Composition‐ Framing, Function
and proper use of lenses, Understanding & Use of color, Aesthetics of Painting and
Spatial Arts, Moving Image ‐Motion Picture, Impact of collective moving Images,
Motio n Picture Dynamics, Primary Movement ‐Secondary Movements, Managing
Movements, Tonal Value ‐Depth of Field, Aesthetics and Psychological Impact of
Moving Images.
Unit - II
Sound & Music, A Perspective on ‐ Association of sound, Listening to Sound,
Contribut ion and impact of sound, Understanding rhythm, melody, drama, Knowing
various instruments, Impact of Sound‐ Moods, Role of notes and beats, Tonal
Quality, Pitch ‐Volume‐Perspective, The concept of Music, Glimpses of World
Music, Voice culture‐ for speech, Acoustics, Harmony‐ Symphony‐
Rhythm‐various Types of Rhythm ‐Indian and Western Concepts ‐Permutations &
Combinations of Notes & Rhythm, The formation of Music ‐Glimpses of World
Music‐ Combo of Music & Effects ‐Background score.
Unit - III
Lighting, A Perspective on ‐ What makes a good picture parts played by
composition, light, contrast and drama, Light ‐contrast, Volume, Foreground, Mid
ground, Background, Propinquity, Distance, Colour, Angle, Dynamism involved in
motion/action ‐Setting dyna mism in action ‐Creating action.
Unit - IV
Art of Film Making, A Perspective on ‐ Understanding the Importance and power of
audiovisual communication, Picture Compositions, Qualities of motion picture: Sense
of Tension and Surprise, Intensity of Drama, Fa cility to travel with viewers from one
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location to another, How to store a still and a movie, Importance of listing, makeup,
properties, set contract, Genres of films – Action, Horror, Romantic, Social, Sci ‐Fi,
Futuristic, War, The film pipe line ‐ Creative Process; Concept ‐ Research‐ ideation‐
Structuring a Story ‐Story Boarding‐ Characters‐ screen play ‐ Dialogues ‐
Casting‐Shoot‐Edit‐Re‐ Recording‐ Final Print/DVD. Understanding the needs of
cinematographer/Sound designer/editor/client servicing executive, The film pipe
line‐Production Process, Formation of Team ‐Location Survey‐ Auditions ‐Planning
the shoot‐Production Management Hiring of facilities ‐Cost Control ‐Managing crew
& artists.
Unit - V
‘Director’‐ Conductor of an Audio Visual orchestra: What it means to be a Director ,
Managing creativity of colleagues and managing a creative team, Understanding of
roles & responsibilities of the crew, Understanding the Emotional Aspect &
Technological Aspects of, Actors, Cinematographer, Editor, Music Director, Sound
Engineer, Makeup Man, How to bring the effects of music & picture together.
Unit - VI
Hands on tools for a Director, A Perspective On ‐ How to be creative, what does
creativity mean, The language of ci nema, The art of episodes, History of Indian &
World Cinema, Ad film Making, Documentaries.
Unit - VII
The World of the Film Director, Identifying Your Themes, Dramaturgy Essentials, A
Director’s Screen Grammar, Seeing with a Moviemaker’s Eye, Shooting Pro jects.
Unit - VIII
The Story and Its Development: Recognizing the Superior Screenplay , Analyzing
a Screenplay, Director’s Development Strategies, Alternative Story Sources, Setting
Creative Limitations, Aesthetics and Authorship, Point of View, Subt ext, Genre, and
Archetypes, Time, Structure, and Plot, Space, Stylized Environments, and Performances, Form and Style.
Unit - XI
PRODUCTION: Developing a Crew, Mise -en-Scéne, Producing a Shooting Script,
Before the Camera Rolls, Roll Camera, Location Sound, Continuity, Directing the
Actors, Directing the Crew, Monitoring Progress.
Unit - X
Organizing action in an action scene: Staging and Camera for Over Easy Action
Scene, Development of Screenplay, Director’s Preparation for Directing an Action
Scene, O ver Easy Action Scene/Staging and Camera Angles for, Storyboard Artist,
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Organizing action in narrative scene: Staging and Camera for Narrative Scene,
Choosing a Location, Staging, Camera Style.
Unit - XI
Styles and Dramatic Structures: Style, Narrative, Dramatic, and Poetic Visual
Styles, The Variety of Dramatic Structures.
Text books :
1. Film Directing Cinematic Motion: A Workshop for Staging Scenes By Steven
Douglas Katz.
2. Film Directing Fundamentals: See Your Film Before Shooting By Nicholas T.
Proferes.
3. Problems of Film Direction By Sergei Eisenstein Hey Whipple, Squeeze This
by Luke Sullivan.
Reference Books:
1. Directing: Film Techniques and Aesthetics By Michael Rabiger.
2. On directing film By David Mamet.
3. Directing Actors: Creatin g Memorable Performances for Film and Television
By Judith Weston.
4. Art Direction for Film and Video By Robert L. Olson.
5. The film director's team By Alain Silver, Elizabeth Ward.
6. Notes of a film director By Sergei Eisenstein.
7. Producing and Directing the Short Film and Video By Peter W. Rea, David K.
Irving.
8. Fundamentals of Film Directing By David K. Irving.
9. Writing, Directing, and Producing Documentary Films and Videos By Alan
Rosenthal.
10. Breaking into Film by Kenna McHugh.
11. Befo re You Shoot : A Guide to Low Budget Film and Video Production by
Helen Garvey.
*****
Course Code : PAFTNMP 208
PRACTICAL FILM PRODUCTION (FICTION AND NON FICTION)
Objectives:
• To understand the production pipeline of film making process for multiple
locations in short films.
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• To introduce the Fiction Short film making and In- depth Multiple Characters
Single Location Short Film.
• To gain exposure on various cameras and software used for production of 2
Character multiple location, Fiction Short film making and In- depth Multiple
Characters Single Location Short Film.
• To understand the guerilla film making process. Making a documentary film as
part of the project work.
• Students to produce short film individually– documentary and fiction as a part
of their c urriculum. These films will be judged by an external examiner. There
will be no written examination for this course.
*****
Semester –III
Course Code Name of Course
A. Optional Courses Term work
Teaching and
Extension Credits
38PAFTNMP 309 Web Production and
Programming 3860 6
38PAFTNMP 310 Visual Communication
3860 6
38PAFTNMP
311 Electronic Media Criticism
3860 6
38PAFTNMP
312 Media Economics
3860 6
38PAFTNMP
313 Laws related to Film, TV and
Internet 3860 6
Total 38300 3830
Students to select any four 38240 3824
Course Code : PAFTNMP 309
WEB PRODUCTION AND P ROGRAMMING
Objectives:
• Students Will Learn How to Use HTML5 & CSS3 to build their own
Professional Websites
• In this course students will learn firsthand by building their own website.
• A step by step approach ensures that each student receives a valuable learning experience.
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• In this course students will learn how to use HTML5 and CSS3 to create
responsive websites.
• The course teaches students how to code with multiple examples that are easily replicab le.
Unit -1: Introduction
New Updates about Multimedia
HTML5 New Forms Elements
The Canvas Tag
The Power of CSS3
The Complete and Professional Webpage Using HTML5 & CSS3 Techniques
Unit - 2: Basics of HTML5
Introduction to HTML
Html5 DTD
WBR tag
Unit - 3: New Updates about Multimedia
Audio Tag
Audio Tag Attribute
Video tags
Video tag attribute
Unit - 4: HTML5 New Forms Elements
Html forms
Adding CSS to Form
Validating Email address
Validating Numbers
Date input and its attributes
Date with week and month
Time Input and Date Time Local Input
URL and search field
The required attribute and form validation
Range input
Color input
Input List and Datalist Tag
Multiple File Uploader
Adding Placeholder
Autofocus and No Validate
Unit - 5: The Canvas Tag
Intro to C anvas
Creating a simple Canvas And Rectangle
Creating a Line
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Creating a Circle
Unit - 6: The Power of CSS3
Intro to CSS3
Border Radius Property
Box Shadow
Linear Gradient
Linear Gradient more
Radial Gradient
White Space, Overflow and Text Over Flow
Text Shadow
Font Face
Word Wrap and Word Break
Transform, translate
Transform Rotate, Skew and Scale
Unit - 7: Transition & Animation Effects on CSS3
Transition Effects
Animation Effects
Unit - 8: The Complete and Professional Webpage Using HTML5 & CSS3
Techniques
Creating the complete webpage layout
Creating the CSS Layout
Completing the Basic Layout
Creating header and Navigation
Creating the Article area
Creating Aside Area
Completing the Project with Simple CSS
Adding Border Radius Property
Adding Font Face to the Project
Adding Transition Property
Adding Animation to the Project
Adding some more Animation
Course Conclusion and Final Exam
****
Course Code : PAFTNMP 310
VISUAL COMMUNICATION
Objectives:
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• To understand the theory of Visual Communication.
• To understand the visual communication practice in film making process.
• To be acquainted with the main methodologies, concepts, categories, theories
and topics that apply to the different branches of research, development and
innovation in audiovisual communication, in addition to a knowledge of the
different branches of research into communication and information
technological environments.
• To acquire a basic knowledge about the main events and messages that shape
current audiovisual systems, as well as about the visual and sound representations that modern society recognises, and the ways in which they
can be linked to create audiovisual messages.
Unit - I: AESTHETICS
Aesthetics Theory
Creative Visualization
Unit - II: Perception Theory
Eye Tracking Methodology and the Internet
Perception and the Newspaper Page: A Critical Analysis
Unit - III: REPRESENTATION
Representation Theory Design Method
Content Analysis of Representation
Unit - IV: VISUAL RHETORIC
Theory of Visual Rhetoric
A Visual Rhetorical Study of a Virtual University's Promotional
Efforts
Visual Metaphors in Print Advertising for Fashion Products
Empowerment through Shifting Agents: The Rhetoric
of the Clothesline Project
Unit - V: COGNITION
Cognitive Theory
Unit - VI: SEMIOTICS
Visual Semiotics Theory
An Intended -Perceived Study Using Visual Semiotics
The Image and the Archive: A Semiotic Approach
Unit - VII: RECEPTION THEORY
Reception Theory
A Textual Analysis of Political Television Ads
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Phenomenology and Historical Research
Unit - VIII: NARRATIVE
Narrative Theory
Using Narrative Theory to Understand the Power of News Photographs.
Unit - IX: MEDIA AESTHETICS
Aesthetics Theory
A Content Analysis of Political Speeches on Television
Examining Documentary Photography Using the Creative Method
Unit - X: ETHICS
Visual Ethics Theory
A Survey of Reactions to Photographic Manipulation
Studying Visual Ethics by Applying a Typology of Visual Behavior
Unit - XI: VISUAL LITERACY
Visual Literacy Theory
Media Literacy, Aesthetics, and Culture
Unit - XII: CULTURAL STUDIES
Cultural Studies Theory
A Burkean Analysis of a Television Promotional Advertisement
A Cultural Analysis of the Unisys "Monitor Head" Television
Commercial
A Historical Approach to Understanding Documentary
Photographs: Dialogue, Interpretation, and Method
Bibliography : Typographic Design: Form and Communication - Carter, Day, Meggs
Studying Visual Communication – Sol.Worthhttp://astro.temple.edu/~ruby/wava/worth/svscom.html
Visual Communication - Integrating Media, Art, and Science - By Rick Williams,
Julianne Newton.
Handbook of Visual Communication Theory, Methods and Media – Jennings.
Bryant/DolfZiUmann, General Editors.
Course Code : PAFTNMP 311
ELECTRONIC MEDIA CRITICISM
Objectives
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• To understand the theories involved in the making of electronic media content
• To understand and learn how to critique various forms of media
• To gain a deeper understanding of the content producers and audience
perception of content
• To gain an understanding of how the audience receives media content
The course shall comprise of the following units :
Media concepts and keywords in media and communication
• What is Criticism
• The Essence of Criticism
• Critical Functions
• Criticism and the Communication Process
• Knowledge Processing
• Tonal and Talent Ingredients
• Stage -Molding Ingredients
• Business Gratifications
• Audience Gratifications
• Reality Programming
• Depiction Analysis
• Structural Analysis
• Probing Ethics and Values
• Aesthetics and Art
• The Logic of Aesthetic Form
• Composite Criticism
Bibliography :
1. Bob Franklin, Martin Hamer, Mark Hanna, Marie Kinsey, John Richardson,
Key Concepts in Journalism Studies, SAGE Key Concepts series
2. John Hartley, Communication, Cultural and Media Studies – The Key
Concepts, Routledge
3. Peter B Orlik, Electronic Media Criticism: Applied Perspectives, Lea’s
Communication.
Course Code : PAFTNMP 312
MEDIA ECONOMICS
Objectives
• To understand the economics of media
• To understand why media is different
• To understand of business of media and its contribution to economy
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• This course will cover the fundamental concepts, theories, and approaches of
media economics.
• You will learn how to use these theoretical constructs to analyze media
markets, industries, and the practices of media organizations. Moreover, you will learn how media economy has been shaped by multiple factors, including technology,
• globalization, and regulation.
• This course will cover the new trends in media economy,
• especially the rapid development of social media industries.
Introduction: Why the Study of Media Economics?
Economic Concepts
Understanding the Market
Evaluating Media Markets
The Radio Industry
The Television Industry
The Cable Television Industry
Premium Cable/Pay -per-View
The Motion Picture Industr y
The Recording Industry
The Newspaper Industry
The Magazine Industry
The Book Industry
The Future of Media Economics Research
The Internet as a Medium
Bibliography :
Media Economics – Understanding Markets, industries and Concepts by Allan
Albarran Wiley -Blackwell; 2 edition.
Indian Media Business, 4thEdition :Vanita Kohli, Sage Publications
*******
Course Code : PAFTNMP 313
LAWS RELATED TO FILM, TV AND INTERNET
The course shall comprise of the following units :
• Freedom of the Press
• Constitution al foundation of freedom of the press in India
• Need for limitations on freedom of the press
• The press as business, The press as property
• The press and the legislature
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• Rights, duties and liabilities of proprietor, printer, publisher, editor, author,
journalist, contributor and vendor
• The Press Council Act, 1978
• The Cinematography Act, 1952
• The Prasar Bharati (Broadcasting Corporation of India ) Act, 1990
• The Information Technology (Amendment) Act, 2008
• The Cable Television Networks Rules, 1994 and Cable Television Networks
(Regulation) Act, 1995
• Right to Information Act, 2005
• Indian Penal Code and the press (Defamation).
Bibliography :
Durga Das basu (Acharya, Dr.), Law of the Press, fourth edition 2002, publisher -
Wadhawa and Company Nagpur, Administrative office, DD -13, Kakajiextn; Opp.
Neharu Place, New Delhi - 110019. Ratanlal Ranchhoddas and Dhirajlal Keshavlal
Thakore (Advocate),
The Indian Penal code, Reprint edition 1994, publisher - Wadhawa and Company,
Law Book publisher, Dhatoli, Nagpur - 440012. Kagzi , M.C. Jain,
The Constitutional of India Vol.1 & 2, New Delhi: India Law House, 2001. Pylee ,
M.V.;
Constitutional Amendments in India, Delhi : Universal Law,2003. Basu, Durga Das,
Constitutional Law of India, New Delhi: Prentice -Hall of India Ptv. Ltd. 1991.
Sharma, S.R. (ed.),
Encyclopedia of Constitutional Law Vol. 1 to 5:
An Introduction to Constitutional Law , New Delhi: Anmol Publications, 2003.
http://presscouncil.nic.in
SEMESTER –IV
Course Code A. Interdisciplinary/Cross
Disciplinary Courses (I/C
courses) Term work
Teaching and
Extension Credits
38PAFTNMP
414 Perspectives in Media Business 3860 6
38PAFTNMP
415 Marketing & Publicity Design
3860 6
B. Project
38PAFTNMP
416 Practical Fi lm Making 120 12
Total 38240 24
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Course Code : PAFTNMP 414
PERSPECTIVE IN MEDIA BUSINESS
Objectives:
• To educate about Media and entertainment business.
• To understand the television business and challenges faced by it.
• To understand the radio business and challenges faced by it.
• To understand animation and gaming business.
Unit - I: Indian Media Industry Overview: State of the Media: FICCICII report
overview. The changing Dynamics, Media Costs and Budgets, International Media Exposure in India.
Unit - II: Challenges facing Television and Radio: The all new web media,
Television Distribution : Issues and Challenges, Content Repackaging, Piracy IssuesIn real and webvirtual domains, Challenges associated with IPTV & DTH.
Unit - III: Animation, Gaming and VFX i ndustries growth and opportunities:
Animation Industry Growth and Challenges , VFX for Cinema : Impact of Hollywood
, Gaming Industry Challenges and Conflicts ; Multiplication of Gaming platforms,
Evolution of Gaming technology from 8 bit to console gami ng, Gaming as additional
revenue stream for monetizing a franchise., Case Studies of Films
Unit - IV: International Issues Facing the Media Industry : Case Studies: Piracy
Issues and Introduction to IPR, Adapting international content to Indian television :
KBCBig Boss Case Study, Pricing Challenges, Unconventional Media Opportunities
in India, Definitions and terms in unconventional media, Pod Casting, I media and
digital media.
Unit - V : Evolving Technology: Changes in technology (and reverse); digital
revolution Content dictating form, Technologies related to film Distribution &
Exhibition an overview, Editing and its importance to business of cinema.
Understanding formats: 35mm / 16mm / HD / Super 16 /, Stock & Processing,
Crewing & Technology an overvi ew, Post Production Techniques & Systems, VFX
and Sound an overview, technological requirements, Cost management as per the scale of the film.
Unit - VI : Television Entertainment: Emergence new genres of programs viz;
lifestyle, reality shows, game shows, etc, Success of niche channels with specialized
content like shopping, travel & leisure ,nature. quick news, etc, Adoption of
International formats of reality shows, remakes of films and old mythological serials, Concept of TRP, reach, and viewership.
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TEXTBOOKS:
1. Producing and Directing the Short Film & Video by David K. Irving & Peter W.
Rea.
2. All You Need to Know About the Movie and TV Business: Fifth Edition, by
Scott Trost (Author), Gail Resnik (Author).
3. Film Technology in Post Production, Second Edition Dominic Case.
Reference Books:
1. Movie Magic Screenwriter User’s Manual for Windows, Macintosh y Kevin
Hindley (1, 2, 4)
2. Script Breakdown & Scheduling Software; Tutorial Manual (for IBM
Compatibles).
3. Movie Magic; by Screenplay Systems (Whole manual ) FINAL DRAFT
VERSION 8.
4. UPGRADE TUTORIAL MANUAL.
5. Digital Storytelling ‐ Carolyn Handler Miller (Chapters 10)
6. Inspired 3D short film production By Jeremy Cantor, Pepe Valencia, Bill
Kroyer,
7. Michael Ford, Kyle Clark.
8. Character Animation & Film Production By Chris Neuhahn, Josh Book.
*****
Course Code : PAFTNMP 415
MARKETING AND PUBLICITY DESIGN
Objectives:
• To introduce the concept to film marketing and publicity design.
• To educate about t he importance of marketing into day’s world.
• To help understand the various tools ne eded for marketing and publicity
design.
• To lear n abo ut the marketing plan and market r esearch.
• To he lp get insight into c onsumer consumpti on behavior.
Unit -I:Introdu ctiontoMarke ting:Import anceofmarketing,definitionof marketing,
scope of marketing, functions of marketing, marketing and its relation to the business
functions, difference betwee n sales and marketing. Key marketing terms, and
concepts‐need, want, demand, excha nge, marketing orientations , distinction between
selling and market ing. Market ing Mix, 4Ps, 7Ps, 4Cs.
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Unit –II: Marketing Environm ent: C ompan y’s Micro and Macro En vironment
and the ch anges happe ning, Challenges due to environment changes. Analyzing the
environment ‐ Porter’s 5 forces, PESTLE, etc. Dealing with competition.
Identific ation and analysis of competitors. Respo nding to the Market ing
environm ent, Marketing Research, Def inition, Marke ting Research Process,
Marketi ng Intelligence System, Comp onents of Intelligence System, Data Mining
and Wareh ousing.
Unit –III: Consumer Behav ior: Introduction and importanc e, model of consumer
behavi or, characteri stics affect ing consumer behavior. Buyer decision
behavi or‐consumer. Psychology. Buyer decision process. Adoption process,
Domestic buyer behavior, industrial buyer behavior.
Unit -IV :Segmentat ion, Targeting &Positi oning: Segmentation‐ Bases and
process of segmentation, requirements for effective segm entation, ni che marketing,
segmenting c onsumer markets, segment ing business markets. Targetin g‐ Evaluati ng
market segments, selecting target market segments. Po sitioning ‐ Posit ioning maps,
differentiation and positioning strategy, co mmunicati ng and delivering the chosen
position.
Unit-V: Demand Foreca sting: Demand forecasting techniques – methods based on
judgments, method requiring quantitative data.
Unit-VI: Marketing Planni ng Proc ess: Marketing analysis: Goal setting ‐ Mission,
vision, corporate objectives; marketing audit, SWOT analysis. Mark eting strategy:
marketing objectives and strategies, expe cted outcom es. Marketing control:
Mark eting budgets, planni ng and implementati on, Mark eting Plan‐Nature, process
and c ontents of a marketing pl an.
Unit -VII :Intr oduction to the concept to IIMC: Introducti on & Familiarization,
Definition of Promotion & Promotion Mix, Tools of Promotion Mix, IMC Planning
Process, Creat ive Strat egy, Media Strat egy.
Unit -VIII: Packaging for film & television : Threat of Promo, Adve rtisement &
In serial promotions, Art of Writing C opy, Designing for various mediums , Public
Relations, Planning, organizing and managing events., Managing the internet and
social Media., Vendor selection and management, Media Planning & Buying.
Reference book s:
1. Competing For The Future By C.K. Prahal ad & Gary Hamel.
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2. Kotler on Mar keting: How to Create, Win , and Dominate Markets By P hilip
Kotler.
3. How to Win Friends and Influence People B y Dale Carn igie.
4. Market Resear ch: A Guide to Planning , Methodol ogy and E valuation By
Paul Hague.
5. Art of War By Sun Tzu.
6. Strateg ic Ma nagement B y Gregory Dess, Lum pkin & Taylor.
7. How Wi nners Sell: 21 Proven Strategies to Outsell Your Competition and
Win the Big Sale By Dave Stein.
8. Selling the Invisible: A Field G uide to M odern Ma rketing By Har ry
Beckwith.
9. Marketi ng Services: Compet ing Through Q uality B y Parasuraman &
Leonard L. Ber ry.
10. Marketi ng Managem ent (12thEdition) (Marketing M anagement)By Philip
Kotler.
11.Consumer B ehavior: Building Marketi ng Str ategy,9/ e,(with DDB Needh am
Data Disk) By Hawkin s, Best,& Coney.
12.Crossing the Chasm: Marketing and Selling High‐ Tech Pr oducts to
Mainstream Cust omers By Geoff rey A. Moore.
13. Mind and Hea rt of t he Negot iator, The (3rd Edition) By Leigh Thompson.
14. Radically Trans parent By A ndy Beal & Judy Strauss.
******
Course Code : PAFTNMP 416
PRACTICAL FILM PROJECT
Students will produce the following:
1. A 30 minute documentary or a fiction film.
2. A website to promote the film. Website to be uploaded on a space provided by the
college in a sub -domain and maintained till the final viva is conducted.
3. A 30 sec to 1 min promo for the film.
Viva based on the film to be conducted by an external examiner appointed by the
University.
There will be no written test for this course.
*****
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