MAMedia Entertainment and Advertising_1 Syllabus Mumbai University by munotes
Page 1
Cover Page
Sr.
No. Heading Particulars
1 Title of the
Course M.A.( Media, Entertainment and
Advertising )
Semester III to IV
2 Eligibility for Admission Any Graduates
3 Passing
Marks 40%
4 Ordinances / Regulations ( if any) --
5 No. of Years / Semesters 02 years & 04 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)
8 Status New / Revised √
( Strike out which is not applicable)
9 To be implemented
from Academic Year From Academic Year __ 2017 -18. UNIVERSITY OF MUMBAI
Syllabus for Approval
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Date: 20/2/2017
Signature :
Name of BOS Chairperson √ / Dean : __ Dr. Sunder Rajdeep
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AC
Item No. .
University of Mumbai
Revised Syllabus for the
M.A.(Media, Entertainment and Advertising )
Semester III to IV
(As Per CBCS
With effect from the academic year 2017 -18 for
Semester III to IV)
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REVISED SYLLABUS INCLUDING SCHEME OF COURSES, SCHEME OF
EXAMINATION, AND MEDIUM OF INSTRUCTION FOR THE MASTER OF
ARTS ( Media, Entertainment and Advertising ).
FEE STRUCTURE:
The fees for the course will be Rs 96, 000/ ‐ for the entire course inclusive of tuition fees.
Note: The breakup per semester will be as follows Rs 24,000/ ‐ per semester.
Admission fees : 1000/ ‐
Tuition fees -16000/ ‐
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 equipment& library material.
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 /F ilmStudies/ 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.
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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 time. The self -
study component assigned in this manner will be related to or an 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 specializat ion 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 : Electi ve courses shall be courses offered by the parent department
that impart instructions in specialized/advanced/supportive aspects of the relevant
discipline. Each department shall offer a pool of such courses from which a student can choose. Elective Course s shall be for six credits. The syllabus for each elective course
will have a preamble clearly stating the course and the learner objectives for 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 o f 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 department.
(iv) Audit Courses: Students can audit a course from the parent department as well as
from other department s 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. Such 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 course.
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. The internal marks
shall not be used for the credit computation. A student is permitted to audit maximum four courses in the MA program.
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(v) Ability Enhancement Course: The ability enhancement courses are skills based
course. The ability enhancement courses are to be offered at fourth semest er.
(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 will 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 stud ent wishes to opt for. The application will have to
be endorsed 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 taking 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
have 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 res earch
assignment related to the specific discipline of the parent department.
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
preference by the fifth week of the third semester to the Head of the parent department.
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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 / ��� �����/ �����
����������) ���� ���������� �� ������, all PhD scholars and recognized post
graduate teachers �� ���� ������������� ��� ���������� will be guides for the
dissertati on component.
3.6 : The dissertation committee will allocate students to guides in order 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 s pecific disciplinary needs.
The student will make a preliminary presentation in the seventh 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 final 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 D epartment by
the end of the fourth semester, along with a soft copy on a CD/DVD.
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 w ill 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 Chanc ellor 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.
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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 that 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 be considered final.
3.16 : The student who has got a letter grade ‘F’ in the di ssertation 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 preliminary presentation, final presentation and dissertation
submission will be d isplayed 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 practice; 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
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 course.
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 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 befor e evaluation. The evaluated answer -sheets and marks
shall be shown to the students on the date announced in advance.
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4.4 :The existing rules for moderation of answer sheets will be followed in the case of
internal examinations in core courses.
4.5 :Semest er-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 pa sses 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 i nternal examination shall be carried forward.
4.11 : The letter grade and the grade point for the course will be computed as per 3.13
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 grade card of the student
along with table in 3.13
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4.14 : The final semester grade card shall also have the aggregate percentag e marks
scored by the student in all the courses in which the student has obtained the relevant
credits.
4.15 : The rules for gracing: 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
offere d in the third semester.
5.3 : The fourth semester shall consist of one ability enhancement course (6 credits), one
interdisciplinary/cross disciplinary course (6 credits) and one project based course (10 credits).
5.4 :The semester having Practical Comp onent / Field Work Component shall be given
four teaching hours per week per theory (core/elective) course. Each core/elective course shall have 4 credits in such semester.
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 Practica l 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 /f ield 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 Internal 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
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the other will be in the form o f 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 p ractical 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 examination 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.
6.7: If a student is absent from the internal 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 course, 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 sem ester. 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 gra de 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 o btains 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.
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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 car d of the
student along with table 3.13.
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 cre dits.
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
PAEMA 101 Overview ‐ Entertainment Media &
Advertising 3960 6
PAEMA 102 Communication Skills & personality
development 3960 6
PAEMA 103 Principles of Management 3960 6
PAEMA 104 Management ‐ Film, TV, Animation 3960 6
Total 39240 24
Semester II
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Course
Code Name of Course
A. Core Courses Term work
Teaching
and
Extension Credits
PAEMA 205 Marketing Management 3960 6
PAEMA 206 Integrated Marketing
Communications 3960 6
PAEMA 207 Basics of Finance & Accounting 3960 6
PAEMA 208 Entrepreneurship & Innovation 3960 6
Total 39240 3924
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SPECIALIZATION in Film and Television
Semester –III
Course
Code Name of Course
A. Core Courses Term work
Teaching and
Extension Credits
PAEMA FT
309 Broadcast Business Management 3960 6
PAEMA FT
310 Film Production & Content pipeline 3960 6
PAEMA FT
311 An Orientation to New Media
Technologies 60 6
PAEMA FT
312 Television & Radio Production &
programming 3960 6
PAEMA FT
313 Film Distribution and Marketing 3960 6
Total 39240 3924
Students to choose 4 courses
SEMESTER –IV
A. Optional Courses Teaching and
Extension Credits
PAEMA FT
414 39Media Research Analytical Skills 3960 6
PAEMA FT
3415 Business Plan and Negotiation
Skills 3960 6
PAEMA FT
416 B. Dissertation / Field
Project 39120 3912
Total 39240 3924
SPECIALIZATION in Advertising and Marketing Communication
Semester –III
Course
Code Name of Course
B. Core Courses Term work
Teaching and
Extension Credits
PAEMA AM
309 Account Planning & Management 3960 6
PAEMA AM
310 Consumer Behavior 3960 6
PAEMA AM
311 Management: Events and Live
Media
PAEMA AM
312 Advertising Agency Structure &
Management 3960 6
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PAEMA AM
313 Media Planning and Buying 3960 6
Total 39240 3924
Students to choose 4 courses
SEMESTER –IV
C. Optional Courses Teaching
and
Extension Credits
PAEMA
AM 414 39Media Research Analytical Skills 3960 6
PAEMA
M 3415 Digital and Social Media
Advertising 3960 6
PAEMA
AM 416 D. Dissertation / Field Work 39120 3912
Total 39240 3924
COURSE CODE: PAEMA 101
Overview ‐ Entertainment Media & Advertising
Obj ectives:
To make understand the dynamics in the Medi a, Entertainment and advertising | To e
xplain the dynamics of
content delivery |To make understa nd the basics of monetization from various sources |
An overvi ew of gami ng and animation indust ry
Unit I Size of M&E industry‐ Indian & Global: Key Figs and Trends of the in
dustry, Key players/companies operating in each segment, Spread across value chain of
major entertai nment
conglomerates | Unit II Indian and GlobalFilm Industry: Market Size, growth rate, int
ernational tr ends, etc, Product Life Cycle for filmed
entertainm ent: Music release, theatrical r elease, home video rights, DTH, New Media
(VOD, IPTV), mobile rights, satellite, cable and terrestrialtelecast, merchandising and
licensing rights , overseas release, sequels, etc | Unit III Dynamics of each content
delivery platform for
filme d entertainment: Film Distributi on, Home Video, Music Sales
(physical and digital ), Satellite telecast,overseas di stribution, N ew Media and online
download right s, Merchandising rights. Reven ue sharing
models and agreements, revenue earning potential, flow of
revenue across value chain and share of revenue
contribu tion of each platformin the total revenue
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collection of a film. | Unit IV Case studies and exampl es: Block buster hit and flop
films and their performan ce on each content delivery
platform, reasons behind the films performance, etc. Potential of regionalc inema in India
and its dynamics; Internati onal studio models and its adapt ation in India; Career
oppor tunities in filmed entertainm ent space, Piracy:
Value and volume, copyright, IPR protection measures like DR M, govt laws, regulations
andacts to counter pira cy, other private bodies
involved in vigilance for copyright protection. | Unit V Indian and Global
gaming Industry Market Size, growth rate, international trends, major international
gaming studios, etc., Evolution ofgami ng: 8 bit to console gaming. Gaming
platforms: PC,
console, onlin e gamin g, mobile gamin g, multi player gaming and their potential. Platfor
ms and Produ ct Life Cycle for gaming entertainm ent: PC, Console games (Plays tation,
X‐box, Ninte ndo, others), sequels, etc. Film based Indian and Internationa l gaming
franchises: Sales performan ce, successful case studies, etc. Career
opportunities in gamin g space. | Unit VI Indian and
Global Animation Indust ry Market Size,grow th rate, international trends, major intern
ational animati on studios, etc., Indian and Internati onal franchises: A
comparative study. D ynamics of Indian Ani mation Industry: Reve nue generated from
exploitation of each cont ent
deliveryplatf orm. Case studies of Internat ional and Indian successful animation films:
Spiderm an, Batman, Krish, Hanum an and many more. Me rchandising and
Licensing: Sales Potential, case studies of Internati onal and Indian properties.
Careeroppor tunities in animation space. | Unit VII Industry size and growth rate for
satell ite broadcas ting: Major channels and t heir programming genres viz;
GEC, Sports, Kids, Mus ic, news,
etc. Underst anding concepts of reach, viewership andTR Ps, their effect
on advertising rates, current ad spot rates of various cha nnels, prime time rates v/s ROS
rates, etc. , Cont ent acqu isition and pr oduction mode ls of various
channels, including licensing
of international reality show formats. |Unit VIII Underst anding dynami cs of revenue
streams of satellite channels i.e subs cription v/s advertising revenues: Digitisation –
Advant ages & Govt. Mandate/Ruling. Fut ure trend ‐ Concept of embedd ed advertising.
Resourcerequirements
for various types of channels depe nding on their content strategy. Career opportunities i
n satellite broadcasting space. | Unit IX Size of advertising
Indian and Global advertis ing industry: Interde pendence betweenadvertising and enter
tainment indust ry in the
entire ecosystem, Underst anding role of advertising agencies. Top advertising agencies a
nd their campai gns. Share of traditional and digital advertising platforms in the total
revenue pie.
Recommend ed Readin gs:
• The Insider's Guide to Indepe ndent Film Dis tribution by Stacey Parks
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• The Complete Indepe ndent Movie Mark eting Handbook by Mark Steven Bosko
• Marketi ng to Moviegoers: A Han dbook of Strate gies a nd Tactics by R obert Marich
• Movie Mark eting: Opening the Picture and Giving It Legs by Tiiu Lukk
• Marketi ng & Selling Your Film Around the World: A Guide for Indepe ndent Filmm
akers by John Durie, Annika Pham & Neil Watson
• Indian M edia Business ‐ Vanita Khandekar
COURSE CODE: PAEMA 102
Communication Skills & Personality Development
Objectives:
To d develop the communication skills || To bring c clarity of thought and c
communication | To apply the principles of better communications while presenting for a project, work or in day too day life | To develop and enhance the image of the learner | To
understand the importance of Verbal and non verbal communication
Unit I – Fundamentals of Communication: Developing reading & writing skills (Marathi, Hindi and English), Editing & Summarizing (Marathi, Hindi and English), Oral Communication (Marathi, Hindi and English), Thinking | Unit II – Enhanced Communication Skills Development: Enhancing communication skills – verbal,
Enhancing communication skills non verbal, Body type - posture, body language reading,
Analyzing body language signals an d meanings | Unit III – Psychology of
communication: Gestures, expressions facial language, eye contact, shake hands, sitting
posture, Maintaining comfort distance from people, mirroring, Dressing sense, corporate dressing, formal, semi formal, casual, dressing for various occasions & events, Understanding personalities, auditory/visuals / kinesthetic, eye movement, facial expressions, emotions, smile | Unit IV – Personality Development: Verbal communication, voice training, speech, clarity, grammar speed, volume, enunciation, pronunciation, ends of sentences, humor pauses, Stress management, breathing pattern, mind psyching, right attitude, understanding your limitations and strengths, Table manners & etiquettes correct use of spoons, fork, knife, etc, Choosing the right accessories i.e shoes, handbags, jewelry, etc
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Text books:
1. Crucial Conversations: Tools for Talking When Stakes are High , by Kerry Patterson
2. Presenting to Win: The Art off Telling Your Story , by Jerry Weissman
Reference Books:
1. Verbal Judo: The GGentle Art of Persuasion , by George J. Thompson
2. Write to the Top: Writing for Corporate Success , by Deborah Dumaine
COURSE CODE: PAEMA 103
PRINCIPLES OF MANAGEMENT
To understa nd the concept and importance of managem ent | To understand the various s
chools of Manageme nt thou ght | To learn about manage ment planning and implying the
m in daily life | To understand the social, ethical andpsychol ogical
aspects of manag ement
Unit I Concept and Importance of Manageme nt: Definiti on, Nature and Scope, Roles
and Principle s, Evolution of Man agement
| Unit II Different Schools of Managem ent thoug ht: Different School s of Managem ent
thought ,
Management functions and skills, Case studies on contemporary Managem ent Theory |
Unit III Managem ent
Planning: Concept, Nature and Impo rtance, Planning types and Steps, Corporate
and Functional Plann ing, Strat egic and Operati onal Plannin g, Problems and Prospects of
Planning , Plann ing premises and forecasting, de cision maki ng
| Unit IV Fundamentals of Organi zing: Forms of Org anization Structure, Design of
Organizat ion Str ucture, Exa mple
of an Organis ationalStru cture of MNC, Authority and Responsibility, Responsibi lity and
owning the responsibili ty
in an organi zation, Conf lict and coordination | Unit V Fundam entals of Staffing:
Recruitment, Training and
Performance Appraisal ‐ Case Study on Performance Manageme nt | Unit VI
Psychologi cal Aspe cts of Managem ent: Motivation Theories, Leadership, Communic
ation, Fundam entals of Directi ng, Controlling, Operati onal Control Techni ques
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|Unit VIISocial & Ethical Aspects of Managem ent: Social Responsibility of
Managers, Business Ethics, Ethi cs, Morality and values,
Culture and Ethics ‐ Relationship betwe en Ethics and
Corporate Excellence | Unit VII Social and Economic Responsibilities of Business:
Role Legislation and other bodies in enfor cing ethi cal b ehavior in business
TEXT BOOKS:
o Man agement ‐ Text and Cases by V S P Rao and V Hari Krishna
o Fu ndamen tals of M anagem ent by Stephen P. Ro bbins and David A. De cenzo
o Fu ndamen tals of M anagem ent by Griffin
ADDITIONA L REFERENCES:
o Principles of Managem ent ‐ II Edition By P.C. Tripathi & P .N. Reddy
SPECIAL NOTE S:
o The Indian CEO: An End angered Species
o Man agerial skills
o Contempora ry Man agement Theory: Case Studies
o The marquee Garment Retailer
o Recruitm ent policy of a MNC
COURSE CODE : PAEMA104
MANAGEMENT IN FILM AND TELEVISION AND ANIMATION INDUSTRY
To make understand the dynamics of film industry | To learn about the productio
n process of films | To understand marketing promotions for films | To understand the
distribution management for films | To learn talent management |
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To unde rstand the business of animation and gaming industries | To know about t
he interconnectivity in
animation and gaming | To understand the process of VFX and usage | To learn about the
possible avenues of revenues in the industry
Unit I Film Industry Overview: Indian Film Industry : Size and Growth, Film Content
Creation, Storyboarding | Unit II Film Promotion and Marketing: Film Marketing
Management: Functions and Policies, Film Promotion Methodologies | Unit III Merchandising and the Film Industry: Merchandizing Planning and Production, Case Studies | Unit IV Distribution Management: Film Rights, Film Auctions and Underwriting, Managing Theatres,
District‐ Wise Distribution : Policies and Practices | Unit V Talent Spotting, Management
and Ca sting: Artist and
Repertoire Management, Casting and Talent Promotion : Role of Agencies
Unit VI Introduction to Animation, VFX and Gaming Processes Unit VII Costing for
Animation, VFX and Gaming Industries : Case Studies; Pixar, Pent media, Avatar, God
of War, World of Warcraft | Unit VIII Challenges of New Media: Metrics and
Calibration, Infringements and Cross ‐Media Analysis,
Reach v/s cost of delivery | Unit IX New Media Business Promotions: Overview;
Interconnectivity between mediums, Cross Media penetration, Merchandising and brand
connections
Text Books
· TEACH YOURSELF : FILM STUDIES ‐ BUCKLAND W
· INSIDERS GUIDE TO FILM FINANCE ‐ ALBERSTAT P.
· PRODUCERS BUSINESS HANDBOOK 2 ED ‐ LEE J. D.
· TO INFINITY AND BEYONDS: THE STORY OF PIXAR ANIMATION
STUDIOS - KAREN PAIK
· VISUAL EFFECTS PRODUCER: UNDERSTANDING THE ART AND
BUSINESS OF VFX ‐ CHARLES FINANCE
· ANIMATION BUSINESS HANDBOOK, KAREN RAUGUST
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· ANIMATION FROM SCRIPT TO SCREEN - SHAMUS CULHANE
PAEMA 205
MARKETING MANAGEMENT
Objectives: To introduce the concept of marketing managem ent | To educate about the
importance of market ing in today’s world | To help underst and the various tool s
need ed for marketing management | To l earn about the marketing plan andmarket
research | To help get insight into consumer con sumpti on behavior | To
understan d IMC and its importance
Unit I Introduction to Mar keting: Definitions and F unctions of Mark eting,
Fundam ental Marketi ng Conc epts and
Tools | Unit II Consumer Frameworks: Customer Orientation,
Buyer Behaviour Fram eworks, Analyz ing Customer Markets |Unit III Market ing
Metrics: Planning Inventor ies, Research and Forecasting, Using Market ing Metrics to
Analyze New Markets, New Product Development and Setting Product Strategies –
Case Study: Launchi ng Apple’s
iphone | Unit IV Market ing Functions: Product and Physical Distribution: Diff
usion and Product Research,
Channels of Distribution, Vendor Management, Wholesaling, Retailing and Logistics | U
nit V Marketing Functions:
Pricing: Pricing ‐Penetration Vs Skimming, Numerical Analyses of Pricing Using MS E
xcel Unit VI Brand Equity and Brand
Mana gement: Int roduct ion to Brand Manageme nt ‐ Brand Identity, Br and Manage ment:
Creating Bra nd Positioning, Case Study:World Space ‐ Positioni ng a Radio
Channel, Brand Management : Dealing with Positioning – Case Study: ND TV and
MSN: Co ‐Market ing | Unit VII Unde rstanding Strate gy: Marketi ng
Strategy: Analyzi ng Business Mar kets, Mark eting
Strat egy: Understanding Segmentation and Posit ioning | Unit VIII I ntroducti on to
Advertising: Introduction to Integra ted Marketing Commu nications , Advertising, Sales
Promotions, Publicity | Unit IX Direct Marketing Strategy: Direct Market ing Strate
gy, Interact ive Marke ting | Unit X Global Marketing
Strategy: Deciding Whe ther to Market Globall y, Deciding Which Markets to Enter, Gl
obal Marketing Program me
|Unit XI Introduct ion to the concept of IMC : Introducti on & Familiar ization, Definitio
n of Promotion & Promotion Mix, Tools of Promotion Mix, IMC
Planning Process, Creati ve Strat egy, Media Strategy
TEXT BOOK:
o ‘Mark eting M anagement’, Philip Kotler and Kevin Lane Keller, 12th Editio n, Prentice
Hall of Ind ia Pvt Ltd
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o Mark eting Management‐ Ramaswamy & Namaku mari
ADDI TION AL REFERENCE S:
o Strat egic Mar keting Ma nagement, Dav id Aaker
n
o Strat egic Brand Mana gement, Kevin Keller, Prentice Hall India Edition
o Journa l of Marketing, A ug 2001 – Aug 2007
o Journa l of Consu mer Research, A ug 2001 – Aug 2007
LIST OF TU TORIALS:
o Devel oping New Product Ideas
o Repos itioning Pl an
COURSE CODE: PAEMA 206
INTEGRTED MARKETING COMMUNICATIONS
Objectives:
To understa nd the intricacies involved in IMC | To unders tand the IMC tools | To learn t
he process for developi ng effective I MC mix | To
understand the correlation betw een the advertis ing tools and design in IMC Unit I The
Communicati ons Process – Theory and Concepts: Intr oduction to Communicati on,
Elements in the commun ication process, Basic models of communicati on, Mass
commu nication s: Introduction & models | Unit II Marketin g Communicati ons in Context:
Overview, Marketing Com munications’ place in strategic marketing,
Integra ted Marketing Com munications ‐ Definitio n, Plan, Comp onents of IMC, Corpora
te Image and Brand Mana gemen t, Consumer Buyer Behaviour , B ‐2‐ BBuyer
Behaviour, Pro motions Oppor tunity Analysis |
Unit III IMC Advertising Tools, Advertising, Definition and types, Role of advertising
in the IMC process, Planning
and resear ch ‐ Campaign management, Communication market analysis, Commu
nicati ons and advertising objectives, Budget, Media s election, Crea tive brief
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| Unit IV Advertising Design: Advertising theor ies, Advertising
appeals, Mes sage strategies, Executio nal
frameworks, ad creation ‐ Advertisingeffect iveness | Unit V Advertising
Media Selection: Media Strategy, Media
planni ng, Media mix ‐ Media selection | Unit VI OOH/ EVENTS/ PROMOTIONS AS
COMM UNICATION TOOLS : OOH, Intr oduction to OOH, Types of OOH Media,
How/ when/ why it
should be used, How can the medium be used effectively, Events, Introduction, Type s o
f events, Key elements of an event, How
do you events effectively, Promotions, Types of promot ions, How to come up with a pro
moidea, How do you execute the promo idea eff ectively
TEXT BOOKS:
o Integra ted Advertising, Promotion and Marketing Communicati ons, Kenne th
E. Clow and Donald Baack , Sec ond Edition, Prent ice Hall of India.
o Marketi ng Communicati ons Managemen t, Conc epts & Theories, Cases a nd
pract ices, Paul Copl ey, Elsevier
SPECIAL NOTE S:
o Communicati ons – Introduct ions and Mode ls
o Mass Communications – I ntroduction and Models
LIST OF TU TORIALS:
o Creative ad campaign pla nning
o Presentations on individual media like prin t, TV, radio, internet, films, rural
media, outdoor, etc.
COURSE CODE: PAEMA 207
BASICS OF FINANCE AND ACCOUNTING
Objectives:
To underst and about corporate finance and the nuances of finances | To underst and t
he basics of econom ic theory | To learn various accounting terms and
usage | To learn accounting and bala nce sheet pr eparing
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Unit I Principles of Corporate Finance: Introduction to
Financial Terms and Concep ts, Present Value of Future Retu rns, Internal Ra te of
Return and Discounted C ash
Flow Meth ods, Financial Projec tions, Introduction to Futures and CapitalMarkets, Financ
ial Instruments |
Unit II Basic Micro‐Economic Theory: Demand ‐Supply, Introducti on
to Micro ‐Economic Theory, Rent , Interest and Wages, Dynamics of Competition:
Underst anding Equilibrium, Oligopolistic Markets |
Unit III Pricing Media Properties for Different Media: Television Pricing, Print
Media Pricing, Animation Pricing |
Unit IV Introduction to Accounting and: Cost Accounting Fundamentals: Trial
Balances , Ledgers and Journal Entries, Accounting Rules, Cost Accounting Definiti ons
and terms, Cost Accounting Tutorial using Tally |
Unit V Balance Sheet and Profitabi lity Analysis: Understa nding Schedule VIII,
Profit and Loss Statement Analysis, Financial Ratios
TEXT BOOKS:
o Double Entry Book Ke eping, Part I, T S Grewal
o Principles of Microeco nomics: International Edition with MyEconLab CourseCompass
with E‐Book Student
Access Code Card, Karl Case, Ray Fair, Pearson Prent ice Hall, Anthony O'Brien
o Corporate Finance, Ross, Westerfield and Jaffe, 7th Edition, Tata McGraw Hill
ADDITIONA L REFERENCES:
o ‘Corporate Finance: Core Pr inciples and Applications’, W esterfield, Ros s,
Jaffe and Jordan
LIST OF TU TORIALS:
o Fina ncial Analysis
• Stock Watch
COURSE CODE: PAEMA 208 ENTREPRENEURSHIP & I NNOVATION
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Objectives:
To understand about developing new business ideas and measure the feasibility of them,
To induce entrepreneurship sprit at a very young age | To learn about the various business
related laws
Unit I
Business Creation: Business Plans and Ideation: Entrepreneurship Routes, Case Studies :
Steve Jobs, Warren Bennis, Introduction to Company Creation, Processes of Registration
and Incorporation, Company Law, Introduction to Company Law, Registration Procedures and Exceptions, Company Procedure and Ethics
Unit II
Media Law, Copyright and Intellectual Property: IPR Laws, Copyright Agreements :
Short ‐Term vs. Long‐ Term Agreements, Media Law and Infringements : Case Studies,
Statutory and non‐ statutory bodies formed to fight piracy
Unit III
Contracts and Negotiations & Conflict Resolutions: Negotiations and Bargaining : Role
Play Exercise, Research Methodology for Business Planning
Unit IV
Scouting for business opportunities: Investor Pitch Exercises, Business Plan Formulation
and Redesign, Financial Projections for Businesses
Unit V
Innovation: Types of innovation: ‐ product, process, etc, Innovation matrix, Case Studies
of successful and failed innovations, Project in Entrepreneurship
•
• Reference books:
• • The 4 ‐Hour Workweek by Timothy Ferriss
• • The Fire Starter Sessions by Danielle LaPorte
• • The $100 Startup by Chris Guillebeau
• • Enchantment by Guy Kawasaki
• • Finding Your Way in a Wild New World by Martha Beck
• • From Resource Allocation To Strategy by Joseph Bower
• • How To Win Friends And Influence People by Dale Carnegie
• • The Zigzag Principle by Rich Christiansen
• • The Innovator's Dilemma by Clayton Christensen
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PAEMA FT 309 Broadcast Business Management
OBJECTIVES To enable the student in understanding the dynamics of the Broadcast Business, Programming and Management space | To understand the television and radio production and content management | To learn about the dynamics of television and radio distribution | To understand the concept of content acquisition
Unit I Television Production Management: Studio Introductions, Camera and Lighting, Television Process Pipelines |
Unit II Television Promotion and Sales: Creating television properties : syndicated vs. owned content , Telemetries Creation and Revenue Forecasting , News Content Creation and Revenue Forecasting |
Unit III Radio Production Management: Radio Studio Manag ement, Charts and
Listenership Reviews, Live and call ‐in shows : Overview |
Unit IV Radio Sponsorships: Radio Revenue Overview, Go‐ Promotion Case Study :
Radio One | Unit V Business Plans & Strategies: Development of Business Plans for a Broadcasting chan nel, Script to Screen Business Process, Revenue Streams for a Broadcasting channel
|
Unit VI Content Acquisition Process: Segregation of the content, Methods and Mechanism of Content Acquisition, Content syndication and regulations in India and Internatio nal |
Unit VII Financial Analysis of broadcasting process: Business planning, basic taxation ,
Business and financial models, Media Buying and Media Audit |
Unit VIII BROADCAST CHANNELS ‐ EMERGING BUSINESS TRENDS: Analogue
& Digital Television, DTH, Internet Television, Mobile Television (DVBH), IPTV | Unit IX Channel Segmentation and Management: General Entertainment Channels,
Boutique, Niche & News Channels, Channel Management ‐ A brief overview |
Unit X Market Overview and Production Schemes: An overv iew of the growth in India,
Production Flowchart, Designing a FPC, Defining Niches. Profiling a Channel , Costing
and Scheduling |
Unit XI BROADCAST DISTRIBUTION: Trends and Technology in Broadcasting, Broadcast Management Systems (Backend Management), Pl ay out systems, Content
management in Broadcasting and new technologies available |
Unit XII Distribution dynamics in Broadcasting: Distribution theory and various new platforms , Cable Operators, MSOs and Head Ends in the sky , Distribution dynamics in India and Foreign countries, Revenue Sharing Mechanism and Methods in various types
of distribution, SWOT Analysis of Digital Distribution Platform and Analogue Distribution |
Unit XII Future of Television Broadcasting: Terrestrial TV ‐ Its growth and Futur e,
Analyzing the Trends and Sensing the Opportunities in Broadcasting Environment |
Unit XIII BRAND MANAGEMENT, MARKETING & PROMOTIONS: Branding – An
Understanding, Promotion of a Broadcasting channel
TEXTBOOKS
1. Entertainment Industry Economics: A Guide for Financial Analysis by Harold L. Vogel
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2. Media Management by Andrej Vizjak, Max Josef Ringlstetter
3. FICCI Reports of 2008, 2009 and 2010 (Broadcasting Section of each)
4. Electronic Media Management (Chapter 2) by Peter K. Pringle, Michael F. Starr
5. The Business of Television – Howard J Blumenthal, Oliver R. Goodenough (part 1 and
part 2)
6. The New Rules of Marketing & PR by David Meerman Scott (Chapter 15)
7. B2B Brand Management by Phillip Kotler (Chapter 3)
8. Building Strong Brands by David A . Aaker
9. “Emphasis on case studies India and international in Broadcast Designing Brand Identity: A Complete
Guide to Creating, Building, and Maintaining Strong Brands by Alina Wheeler (Chapter 3 & case studies)
PAEMA FT 310 Film Production & Content pipeline
Objectives: To educate about the basics involved in a media project management | To
educate about the basic project production workflow and management | To educate about the role of a project manager | To help understand the details involving a ne w business
project or proposal
Unit I Building the Script: Ideation, Research & development, Concept & Treatment note, Story, Screenplay and Dialogues to tap national and international markets, Importance of script in the business arena today |
Unit II Pre Production: Based on script, planning the cast and crew, Location, Reki and
the design of the film Scheduling & Budgeting, Script Breakdowns, Planning the film
production |
Unit III Production: Organizing the production: The various departments of C amera,
Sound and Art, Talent — Direction & Management, Budgeting, Cash Flow management,
MIS & Budget Control, Overall production management | Unit IV Shooting and Crisis Management: Day to day shooting planning, Budget planning, cross checks, Executive p roducer hiring, Crisis management, Alternate
planning in case of cancellations, Proper recording |
Unit V Post Production: Edits ‐ Picture & Sound, Processing, Mixing & Special Effects,
Negative Cutting, Optical, Dl and the Final Negative
TEXT BOOKS:
• The Producers Business Handbook by our Dean John Lee Jr.
• Producing and Directing the Short Film & Video by David K. Irving & Peter W. Rea
• Film production management By Bastian Cleve
• Writing the Killer Treatment: Selling Your Story Without A Script by M ichael Halperin
• Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture and TV
• HOLLYWOOD ECONOMIST ‐ EPSTEIN EDWARD
• FILMMAKERS & FINANCING BUSINESS PLANS FOR INDEPENDENTS
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6/ED ‐LEVISON LOUISE
• FILM PRODUCTION MANAGEMENT ‐ CLEVE B
ADDITIONAL READING:
• Producing and Directing the Short Film & Video by David K.Irving & Peter W.Rea
(Chapter 2)
• Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, and Fascinate
the Reader from Beginning to End by Karl Iglesias
• Industry, 2nd Ed. by Kenneth Atchity & Chi ‐Li Wong
• The Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and Selling Your Script 4th
Edition by David Trottier
• Screen craft Series (Vols. Direction; Production Design SPECIAL NOTES:
• Key elements a business Manager should know on production
• How to handle sudden situations at a shooting and work around budgets
PAEMA FT 311 An Orientation in New Media Technologies
To understand the new trends and technological advancement in the new media space| To
develop programming strategies in the new media space| To learn to use the new medium
in advertising| To understand various online platforms and technologies
Unit I Trends in New and Interactive Media: Brief history, Growth in interactive media,
Developments Internationally in interactive media, Social Media Face book ‐LinkedIn‐
Interactive video , TV, Mobile and Gaming, India’s foray in to the new media,
Opportunities and prospects | Unit II Creative Programming Technologies -A Basic
Understanding: Narrative style and Storytelling , Narrative style and form , Applied script writing , Brainstorming concepts , Screen design layouts , The interactive nature of
digital applications , Various technologies avai lable |
Unit III Online Platforms and Technologies: Wireless, Mobile and Broadband platforms:
evolving trends and status, Interactive DVD products, Convergence |
Unit IV Business opportunities for the advertising industry: Interactive Marketing: Taking Entertainment to the Digital Age, Dynamic ways of marketing on new media, Creation of content for the new media platforms beyond the main campaign, Basis for selection of service providers , Measurement of their performance, ROI to monitor the campaigns, Cross promotional marketing opportunities on New and interactive media, Digital Asset Management Systems, Online asset management solutions such as knowledge management , Collaborative and content management tools , Protecting content
TEXT BOOKS:
• Buildi ng Interactive Worlds in 3D — Virtual Sets and Pre Visualization for Games,
Films
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• & Web (1,8) ‐ Marc Gautier
• Interactive design for the Web and the New Media ‐ by Nicholas V. luppa chapter 2, 3
• Gaming lives in the twenty ‐first century : literate conne ctions / edited by Cynthia L.
Selfe and Gail E.
Hawisher ; associate editor, Derek Van Ittersum ; foreword by James Paul Gee
• Text: Interactive Design for the Web and New media‐ Nicholas V. luppa (Chapter 6 ‐ 8)
• Digital story telling ‐ Carolyn Handler Mi ller (Chapter 11 ‐21) : Interactive Marketing:
The Future Present
(NTC Business Books) by Edward Forrest (Section 2)
• Digital Creativity: A Reader by Colin Beardon, Lone Malmborg
• Digital Content Creation by Rac Earnshaw
SPECIAL NOTES:
• Growth and devel opment of New and Interactive Media in India
• “Evolution of Digital Media and its impact on the Media Space”
• “Case studies of entertainment companies that used the new media for successful campaigns.”
ADDITIONAL REFERENCES:
• Gaming lives in the twenty ‐first century: literate connections / edited by Cynthia L.
Selfe and Gail
E. Hawisher; associate editor, Derek Van Ittersum ; foreword by James Paul Gee
• Agile virtual enterprises [electronic resource] : implementation and management
support / Maria
Manucla Cunha, Goran D. Putnik
• *Handbook of computer game studies / edited by Joost Raessens and Jeffrey Goldstein
• *Encyclopedia of virtual communities and technologies / Subhasish Dasgupta
• Source ‐ http://www.lib.jmu.edu/smad/interactivcweb.aspx
PAEMA FT 312 Television & Radio Production & programming
Objectives: To understand the various elements of programming in the broadcast space |
To understand the dynamics of Fiction, Non‐ Fiction and Documentary programming | To
learn the dynamics of niche content To understand the various elements of programming
in the broadcast space for news and specialized events | To understand the dynamics of news room management | To learn the dynamics of live and special events and coverage
Unit I Elements of Progra mming ‐ Fiction, Non Fiction: Narrative Styles — Importance
of creativity, FICTIONAL ‐ Frequency of shows vis ‐a‐vis business implications (Daily,
weekly). National and regional level programming. Production formats. Characterization within the storyline , N ON FICTION: challenges and opportunities Varied Approach ‐
formal shows ‐ Original formats vs Acquired formats, Reality shows. Scripting for
nonfiction, Role of Anchor vs Voice Over. Global trends in news and documentary |
Unit II The Production: ‐ Fiction, Non Fiction: An overview of production processes,
fiction, non‐ fiction and documentaries, Develop production management, operating and
creative skills for fiction ‐ Story & Script , Multiple Tracks, ‐ Monitoring, Crewing,
Casting , Sets & Outdoors, Scheduling & Budgeting , Unions ‐ Rates, Rules &
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Regulation , Post Production|
Unit III Documentary ‐ Overview : TV and radio Documentaries, Types of
Documentaries, Funding for documentaries, Business of documentary films |
Unit IV Documentary Production and Processes : Pre Production (research, sourcing case studies / stories, finding locations for production), budgeting & scheduling, Planning contingencies, Risk assessment & management and Crewing. Production for picture and sound (sync and ambience). Post production (budgeting, scheduling and execution) |
Unit V Production of content in areas of lifestyle, biographies, audio books, health &
fitness, edutainment, etc: Increasing demand for content in above genres, Revenue generation potential, Case Studies: Shipa Shetty’s yoga, Bipasha’s workout videos, SRK biography.
Unit VI News: An Overview: The development of the long form TV special re port,
Comparisons between Indian news and International news, Trends in news, The ethical
framework of International vs. Indian broadcasting ‐ Its effect on public, extent of
government regulations on reporting, The standards that need to be complied.
Elections/WAR / CRISIS / NATURAL CALAMITY REPORTAGE, GUIDELINES
FOR Reporter on Location. Crisis management from reporting. |
Unit VII News Room Management: The News Production Flowchart, Connecting the
PCR, The OB Vans and any other feeds. Editorial ‐ The N erve Centre of the News Room.
News gathering & the role of the Assignment Desk. OB Vans & communication facility
in times of emergency, Newsroom and Back end support Special Broadcasting: Sports |
Unit VIII Live events (cricket, tennis, track & field fetal) with multi camera set ups: The rise of IPL and film personalities, Production logistics & Budgets, Sponsors and on air sponsors, Branding Opportunities |
Unit IX Special Broadcasting: National and world Events: Spot Rates & FCTs, National events (Rep ublic Day Parade in Delhi, India). The Oscars, Grammys, Miss World
pageants, et al, Reportage. OB Vans. Permissions. Production Logistics & Budgets for special events, Business models and role of Brands.
TEXT BOOKS:
• Television ‐ the book and the classroom by Cole John Y
• Programming for TV, Radio & The Internet, Second Edition: Strategy, Development & Evaluation by Lynne
Gross (Author). Brian Gross (Author), Philippe Perebinossoff (Author)
• Television Production Handbook (Hardcover) by Herbert ZettI
• The business of Television ‐ Howard J Blumenthal, Oliver R. Goodenough
• Making Documentary Films and Videos By Barry Hampe
• Documentary storytelling By Sheila Curran Bernard
• Writing, Directing, and Producing Documentary Films and Videos, Fourth Edition by Alan Rosenthal —
• The business of Television — Howard J Blumenthal, Oliver R. Goodcnough
• The Broadcast Journalism Handbook by Robert Thompson ‐
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• State of War by James Risen, published by Simon & Schuster
• Special note by Faculty: “The key guidelines of crisis reporting”
• Basic radio journalism By Paul Chantler, Peter Stewart
• Editing for Today’s Newsroom By Carl Sessions Stepp
ADDITIONAL READING:
• Cross ‐cultural Filmmaking By Ilisa Barbash, Lucien Taylor
• TV disrupted ‐ Shelly Palmer Transition from network to net: TV Read all for overview
of new competitive landscape.
• TV programme making‐ Colin Harl everything you need to know to get Starlet,
• Public TV in digital era ‐ Petros losifidis techno challenges + new strateg ies • FICCI
FRAMES Yearbooks & Journals
• The Crocodile Hunter : the incredible life and adventures of Steve & Terry Irwin
• The Journalism Quarterly published by the American Association of Schools and Departments of Journalism
• Newsroom Management By Ro bert H. Giles
• TV disrupted ‐ Shelly Palmer Transition from network to net: TV Read all for overview
of new competitive landscape.
• TV programme making‐ Colin Harl everything you need to know to get Starlet. Note:
Chapter 3 (writing) Ch:8 (shooting) Ch 19( work as freelance)
• Public TV in digital era ‐ Petros losifidis techno challenges + new strategies Sec ch: 2 in
part 2 ‐various countries and their applications.
• FICCI FRAMES Yearbooks & Journals
• The Crocodile Hunter: the incredible life and adventur es of Steve & Terry Irwin
• The Journalism Quarterly published by the American Association of Schools and
Departments of Journalism
SPECIAL NOTES:
• “Case study of non fictional program”
• “A comparative framework of Indian vs. International new reporting and management”
• “Framework of production of word events. Its effect on TRP: case studies”
• “A comparative framework of Indian v/s International new reporting and management”
• “The growth of sports coverage in India... Case studies with special ref to IPL”
WEB REFERENCES:
• www.tamindia.com
• hup://www. Infoplease. com/ipea/AOJ51956. html
• (Interesting link for milestones in the history of Broadcast Radio & TV) • http://www. c21media.net/
• (For latest media updates from across the world)
PAEMA FT 313 Film Distribution and Marketing
Objectives: To understand the dynamics of motion picture distribution | To understand the various channels of distribution | To understand about various revenue streams arising out of motion picture distribution
Unit I Rights on a Negative and the Revenue Streams: A quick overview of the different
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Film Negative Rights, Scope of exploitation across various platforms, Revenue models,
Nationally and internationally |
Unit II Domestic Distribution: Historical Overview, T erritories & Strategy, Theatre
selection, multiplex strategy, Single screen strategy, Advances, agreements, Multiplexes
& Single screens ‐ Rules and Regulations and Exemption, Trade Bodies and Arbitration,
Trade Unions, Film City |
Unit III Computing Col lections: Sub ‐distribution, DCRs, reporting structure, Billing,
accounting, sharing, Taxation, Computing Gross and Net Collections, Derivative products, Creating spin‐ off opportunities, Idea to commercialization |
Unit IV International Distribution: Historical Overview, Territories in a Segmented
Market, Derivative products, Creating spin‐ off opportunities, Idea to commercialization,
Film Festivals and Film Markets, The International Sales Agent |
Unit V Distribution Agreements: MG, Outright, Lease ‐ Hire, Scope of agreements as per
the business, Importance of understanding legalities for a business manager To
understand the dynamics of motion picture marketing | To understand the various channels of marketing | To get first hand glimpse at motion pictur e marketing and
publicity design
Unit VI Importance of Film Marketing: Growing importance of marketing of film national and internationally, Understanding the markets for film, Marketing for various sectors, Understanding the socio demographics national ly for film marketing |
Unit VII Positioning of Film in the Market: Target audience ‐TG, Importance of
understanding TG for film marketing, Market research, screenings, Monitoring the
marketing according to the TG. Planning the campaign for the TG, Importance of timing in for marketing and releasing, Coordination of marketing plan |
Unit VIII Film Marketing Tools: Importance of creativity for a film marketing campaign,
Key marketing tools required, In theatre, outdoor, Coordination of various teams for execution of marketing | Unit IX Film Marketing Budgets: Importance of budget planning for film marketing, Budget break up, Marketing budget v/s business of a film, Budget control, Cost effective marketing, Cross promotional marketing
TEXTBOOKS:
• The Producers Business Handbook by our Dean John Lee Jr. (Focal Press7) Risky
Business ‐ Mar k Litwak
• The Feature Film Distribution Deal: A Critical Analysis of the Single Most Important
Film Industry Agreement by TEXTBOOKS:
• Marketing & Selling Your Film Around the World: A Guide for Independent
• Filmmakers (Paperback) by John Durie, Annika P ham, Neil Watson
• The Biz: The Basic Business, Legal, and Financial Aspects of the Film Industry
• (Paperback)
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• by Schuyler M. Moore( chapter 9, II, 12) Marketing & Selling Your Film Around the
World: A Guide for Independent Filmmakers (Paperback) by John Durie, Annika Pham , Neil Watson
• Managing Creativity and Innovation (Harvard Business Essentials by Business Essentials Harvard (Author)
ADDITIONAL READING:
• Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide (Kindl e Edition)
Donald C. Farber, Paul A. Baumgarten , Mark Fleischer
• A Guide for Financial Analysis by Harold L. Vogel
• The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers (Paperback) by Thomas A. Crowell
• Our films, their films — Satyajit Ray The Complete Independent Movie Marketing
Handbook by Mark
Steven Bosko
• Marketing ‘The Da Vinci Code’ ICMR ‐Centre for Management Research ‐Marketing
Case Studies Men
behind the scene ‐everybody wants a hit ‐ Derek Bose. Mantras for success on Bollywood
SPECIAL NOTES:
• Film Monetization in the Indian Scenario, with ref to film negative rights and other streams • “An overview of distribution environment in India”:
• “Samples of Distribution agreements for a b etter understanding”
• “Problems and prospects of International Distribution for Indian Films” Special Note: Understanding the
dynamics of India ‐ Key to positioning
• Special Notes: An understanding of film marketing tools: Samples of Indian vs Internation al films’
• Budget break up of a big blockbuster film: case study
PAEMA FT 414 Media Research Analytical Skills
Research Approaches and Research paradigms in social science research, Some media
hypotheses and theories, Hypothesizing and theorizing, Writi ng a Literature Review,
Writing a research proposal, Research methods and tools, Research methods and tools Content Analysis, Ethnography and observation studies, How to prepare a questionnaire, Interview techniques, Annotation, citing, referencing Survey techniques, using SPSS and
Excel software for data analysis, Research writing styles, Writing the dissertation
PAEMA FT 415 Business Plan and Negotiation Skills
Objectives
To understand the need of a business plan | To understand the pitching process | To learn
and develop skills for pitching and collaborations | To learns the various production trends in the industry | To understand the very nature and characteristics of ne gotiation |
To understand the process of negotiation |To learn and enhance Negotiation Skills
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Unit I Collaborations and Co‐ Productions: International co productions, Production
incentives, Contracts ‐ Co Production Agreements, Trends of co productions in India |
Unit II Financing Independent Films: Loans ‐Negative rights as collateral, Promissory
Notes & Guarantees Borrowing against Pre Sale Agreements, Investor Financing,
Advances from Distributor, Finders & Finders Fees, Production Incentives |
Unit III The Film Proposal: Pitch, Projections – ROIs, Gross & Net profits, Alternate
Revenue Streams, The business plan, Key elements for a film proposal
Unit IV Negotiation: Nature, Characteristics, Strategy and Tactics of Distributive Bargaining, Strategy and Tactics of Integrative Negotiation; Strategy and Planning for Negotiation. |
Unit V Negotiation Sub processes: Perception, Cognition and Emotion, Communication: What is communicated during negotiation and how people communicate in a Negotiation. |
Unit VI Best Practices in Negotiation – Fundamental Structure of negotiation and
BATNA., Case I ‐ Role Negotiation at Bokaro Steel Plant (Understanding Organizational
Behaviour. By Udai Pareek, Oxford, Second Edition Page 410‐ 415). |
Unit VII International and Cross Cultural Negotiation: Context and Concept, Influence of
Culture on Negotiation:Case II ‐ The Dabhol Debacle ( Negotiation Made Simple, SL
Rao, Excel Books pp.30‐ 35 and pp. 196‐ 197). |
TEXT BOOKS:
• Risky Business ‐ Mark Litwak (chapter 1, 2)
• Producing, Financing, and Distributing Film: A Comprehensive Legal and Business Guide (Paperback) by Donald C. Farber Paul A. Baumgarten , Mark Fleischer (chapter 6) The Insider’s Guide to Film Finance, by Philip Alber (chapte r 2)
• The Art of Funding Your Film: Alternative Financing Concepts (chapter 6, 8, 9),by Carole Lee Dean The Producers Business Handbook by our Dean John Lee Jr. (10))
• Lewicki, Saunders & Barry ‐ Netgotiation (Tata Mc Graw Hill, 5th Ed.)
• Cohen S ‐ Negotiation Skills for Managers (Tata Mc Graw Hill, 1st Ed.)
• Rao S.L. ‐ Negotiation Made Simple (Excel Books, 1st Ed.)
ADDITIONAL READING:
• Bankroll: A New Approach for Financing Feature Films by Tom Malloy • Financing The Independent Film
o Bargaini ng for Advantage by Richard Shell
o The Mind and the Heart of the Negotiator by Leigh Thompson o Global Negotiations: A Practical Guide by Claude Cellich
LIST OF VIDEOS:
o “The Red Sun” – Feature Film
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o “Wall Street” – Feature Film
o “Proof of Life” – Fe ature Film
PAEMA FT 416 Dissertation / Field Project
Objectives:
To work in a real environment | To get first hand feel at handling live projects and
understand the business world| To create industry ready professionals
The Students will be encouraged to take a live business project as part of their
curriculum. This will not only make the student an industry ready professional but also reduce the gap of bookish knowledge vs actual market knowledge. This will also enable entrepreneurship abilities in them
Evaluation Criteria for Semester IV Final Project report:
• The Projects will be evaluated by a select panel by the University of Mumbai. The members could be from the field of media and /or faculty of literature / Sociology / Psychology / History / journalism/communication or equivalent to there of
• The panel will be selected from the field of Film and television & Web media industry/ or faculty of literature/Sociology/Psychology/History or equivalent to there of
With and active work experience of 5 year s in media or in the field of expertise and
above
• The Students will be required to upload their project on a central server and the selected panelist can view the work at his / her convenience.
PAEMA AM 309 Account Planning & Management
Objectives: To understand the account planning process | To understand the roles and
responsibilities of and account planner / manager | To have deeper insights into the
functioning of the agency and the account planning team| To understand the pitching process for clients
Unit I Introduction to Account Planning: Need for account planning, What is Account Planning, How does it work |
Unit II Defining the advertising need: What need gap is the brand/ product fulfilling, Is there a requirement for the brand/ product, W ho are the competitors and what are they
doing, How successful are they |
Unit III Defining the target audience: Profiling , Demographics as well as psychographics, Conducting observation studies, Research,Market visits |
Unit IV What should we tell them: How does it benefit the customer, How is it superior to the existing products |
Unit V Why should they believe us: What is our background, What do marketers and investors feel about us, How well are other products from t he same company doing |
Unit VI THE PITCH PROCESS: What is a pitch?, The process of pitching, Preparation required, Teams involved, Coming up with a strategy, Creating a brief, Campaign idea,
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Campaign plan |
Unit VII ACCOUNT MANAGEMENT: Overview and In troduction, Key Account
Management Ideas and Fundamentals , Need for KAM, Customer Selection, Strategic Frameworks for customer selection and key account signing , Understanding account relationships, Relationship Management, Managing client relationships, Buyer
Perspective, Client Understanding , Profitability and Financial Metrics for KAM,
Strategies and planning for KAM , Process Overview ‐ Organization
TEXT BOOKS:
o Key Account Management: The Definitive Guide by Malcolm Macdonald and Diana Woodburn SPECIAL NOTES:
o Special Note ‐ “Key Account Management: Who Gets the Value?”
ADDITIONAL REFERENCES:
o Key Account Management and Planning, Noel Capon o Marketing Mavens, Noel Capon
o Consumer Behaviour, Engel, Blackwell and Miniard, Prentice Hall
o ADMAP, 2003‐ Present
LIST OF TUTORIALS:
o Account Sizing
o Key Account Business Plan
PAEMA AM 310 Consumer Behavior
Objectives: To understand the and analyze consumer buying behavior for account
planning process | To get details about various consumer buying behavior pattern| To learn about consumer classification on basis of various factors| To learn the intricacies of
needs and desires and its effect on buying pattern Unit I Introduction: The importance of studying consumer behavior , Super segmentation in a highly cluttered business environment based on data analysis, Adopting varying communication channels for each customer/market group, Adopting different advertising strategies for each market segment |
Unit II Psychological issues in consumer behavior: Drive, Motivation & hedonism, Personality & self Concept, Goals, risk and uncertainty, Perception, Learning , A ttitude
Formation, Attitude Change |
Unit III Sociological issues in consumer behavior: The environment, class & culture, Peer & Reference Groups , The Family |
Unit IV Decisions & their aftermath: New & Repeat buying behaviour, Innovation, High involvement purchase behaviour, Post ‐Purchase behaviours, Servic
Behavioural Segmentation, Organizational buying behaviour, Consumer behaviour &marketing Mix
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TEXT BOOKS:
o Lifestyle Market Segmentation by Ronald D. Michman
SPECIAL NOTES:
o Special No te ‐ Case Study: Qube – Market Development for Digital Cinema, Real
Image Media
Technologies
o Special Note ‐ Case Study: M TV Networks – Localizing Globally
o Special Note ‐ Case Study: Amway
ADDITIONAL REFERENCES:
o Consumer Behaviour, Engel, Blackwell and Miniard, Prentice Hall
o Marketing Management, Philip Kotler
o Managing Customers as Investments, Donald Lehmann and Sunil Gupta
o Journal of Consumer Research, Mar 2003 ‐ Present
LIST OF TUTORIALS:
o Customer Analysis for a Local Market
PAEMA AM 311 Management: Events and Live Media
Objectives:
To understand the dynamics and various intricacies in event management and live media |
To learn to create and manage events | To learn about inventory management in events
Unit I Fundamentals of Event Management: Event Creation, Understanding Event Briefs,
Event Content Management
Unit II Supplier Management: Roles, definitions and event suppliers, Negotiations and Conflict Management Unit III Creative visualization and packing: From Idea to Execution: Event Inventories, Practical Exercise and Case Study
Unit IV Event Inventories: Event Content Heads and Inventory Mapping, Process ‐to‐ Process Measurement and Tracking
Unit V Planning and Budgeting: Event Planning and Plan Worksheets, Budgeting and
Pricing Events, Corporate Event Pricing, Post Event Evaluations, Event Metrics, Product ‐
Based Event Evaluations,
Response Monitoring
TEXT BOOK
SUCCE SSFUL EVENT MANAGEMENT 2/ED ‐ SHONE A
PAEMA AM 312 Advertising Agency Structure & Management
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Objectives: To understand the structure of an advertising agency | To learn about the
various departments and their working |To get to know about various types of agency | To
understand agency revenue generation sources
Unit I Introduction: Structure of and ad agency, Types of advertising agencies, Internal structure and functions |
Unit II Functions and role of various departments: Client servicing, Media Planning, Art, Copy, Events, Legal, Accounts |
Unit III Agency Finances: Revenue models, Commission , Retainer ship fees |
Unit IV Pitching process and Agency evaluation techniques: The Pitch process, Referrals, Evaluation techniques, Managing the work, Setting up an agency, Building up clientele
Reference Books:
1. Purple Cow: Transform Your Business by Being Remarkable by Seth Godin 2. Truth, Lies & Advertising: The Art of Acc ount Planning by Jon Steel3. Positioning:
The Battle For Your Mind by Al Ries and Jack Trout
4. How to Write an Inspired Creative Brief by Howard Ibach 5. A Technique for Producing Ideas by James Webb Young 6. Lateral Thinking: Creativity Step by Step by E dward de Bono
7. Caffeine for the Creative Mind by Stefan Mumaw and Wendy Lee Oldfield
8. Zag – Marty Neumeier
9. ReWork – Jason Fried and David H. Hansson
10. My Life in Advertising and Scientific Advertising – Claude Hopkins
11. The Tipping Point – Malco lm Gladwell
12. The Brand Gap 13. Engage: The Complete Guide for Brands and Businesses to Succeed – Brian Solis
PAEMA AM 313 Media Planning and Buying
Objectives: To understand the Media Planning & buying process| To understand concepts
of Reach & Frequency | To learn the various media mix and its implementation| To
understand budget allocation for a media plan and fundamentals| To learn to prepare a media plan and evaluate it Unit I Introduction to Media Planning and Selection: Media Planning Overview, Terms and concepts , Rating – HUT, PUT, PUR , Share – Rating/HUT/Share , Post Analysis,
Gross Rating Points/ Target Rating Points , Impressions
Unit II Reach and Frequency: Optimal Vs. Ideal Reach , Media Mix: Overview , Media Frequency Mapping , GRP Calculation , Effective Reach
Unit III Media Mix and Media Strategies: Media Mix ‐Index, Media Strategies
Unit IV Media Buying: Objective, Negotiations, Value Addition, Analysis Unit V Understanding Media Audiences: Audience Composition, Magazine Audiences ,
Readers Per Copy , Broadcast Day parts, Geographic Areas,
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Unit VI Media Plan Fundamentals: Interpretation , Media Plan Fundamentals: Drawing a Media Plan, Indian Media Planning: Indian Television Rates and Policies, Indian Newsprint Rates and Policies , Handling Other Media in India (Internet and New Media
‐ podcasting, mobile casting, dynamic media) , Radio in India
Unit VII Pricing Media Properties for Sponsorships and Programming: Syndicate and Spot Buys , Sponsorships and Associate Spons orships, Media Pricing for Television ,
Media Pricing for Radio , Media Pricing for Print Media, Pricing for Unconventional Media
Unit VIII Media Planning: Media Plan objective, Reach and frequency , Checklist, Media strategy
Unit IX Media Analysis: Un derstanding coverage, Cost per thousand concepts, Ratings
and metrics in Print, Radio & Television , Reach and frequency for a combination of media, Market data, Competitive media expenditure analysis, Data of media audience
Unit X Media Data, Duplicatio ns and Strategic Rules: Metrics for media vehicles ,
Duplication aspect , Cross media duplication , Strategic rules of reach and frequency , Frequency patterns , Duplication within media vehicles.
Unit XI Understanding Reach Patterns: Types of reach patt erns: blitz, wedge, reverse
wedge and short fad , Reach patterns for established product , Regular purchase cycle pattern , Awareness pattern , Shifting reach ‐ Seasonal priming p
reach
Unit XII Basic Measurements and Calculation: How Media vehicles are measured:
Television, Radio, Print, Magazines, Internet and Out of Home How to interpret the data
Unit XIII Media Budgets, Spends & Plan Analysis: Allocating media budgets across various mediums based on TG analysis, readership, listenership and viewership data, Analysing date from NRS,IRS,TAM and other media monitoring agencies to evaluate above data, Finalising media spends depending upon ground realities for each target market, pre ‐launch and post launch phases, etc, Analysing the media plan effectiveness
post advertising campaign to incorporate changes, if any, based on market feedback
TEXT BOOKS:
o Media Planning: A Practical Guide by Jim Surmanek o Media planning workbook by William Goodrich and Jack Scissors
o Advanced medi a planning by John R Rossitier, Peter J Danaher
o Advertising Media planning by Jack Scissors and Roger Baron ADDITIONAL REFERENCES:
o “Advertising Media Planning”, Sissors and Bumba, 4th Edition.
o NRS 2008 / IRS 2008 (CD) Essentials of media planning by Arnold M. Barban, Steven M. Cristol, Frank J Kopec
o The media hand book a complete guide to advertising media selection by Helen E Katz
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LIST OF TUTORIALS:
o Tutorial 1: Understanding Audiences
o Tutorial 2: Media Plan Report Print media planner
o Media Planner for a product
PAEMA AM 414 Media Research Analytical Skills
Research Approaches and Research paradigms in social science research, Some media
hypotheses and theories, Hypothesizing and theorizing, Writing a Literature Review, Writing a research proposal, Research methods and tools, Research methods and tools Content Analysis, Ethnography and observation studies, How to prepare a questionnaire, Interview techniques, Annotation, citing, referencing Survey techniques, using SPSS and Excel software for data analysis, Research writing styles, Writing the dissertation
PAEMA M 3415 Digital and Social Media Advertising
Objectives: To understand the new developing avenues of advertising in the digital space
| To learn the dynamics of social media marketing and advertising |To learn to built interactivity in advertising in the digital world | To understand the importance o f digital
and web advertising
Unit I Introduction to the digital world: Opportunities in the digital space, Internet reach and penetration in India, Time spent by consumers on the internet, Content generated on the internet, Top websites categories, Mobi le reach and penetration in India, How mobile
landscape has changed over the years, Some successful digital brands
Unit II Strategy and Models for the New Marketing Environment: Development of the
internet , Strategy , Business models
Unit III Marketin g Planning and Buyer Behaviour: Online marketing planning issues ,
Buyer behaviour , Search engine marketing , Permission and personalisation online
Unit IV Product, Pricing and Legal Issues: Understanding the online product , Pricing issues on the Web , Legal issues
Unit V Web ‐Based Communications : Online Com – blogs , News
releases , Podcasting , Forums , Wikis , Viral buzz
Unit VI Digi ‐marketing Planning
goals, Creating digital pla tforms , Generating awareness and influence , Optimization |
Unit VII MOBILE MARKETING: Case Studies
TEXT BOOKS:
o Online Marketing: A customer ‐led approach by Ri
Rita Esen.
o Digi Marketing, The Essential Guide to New Medi a and Digital Marketing by Kent
Wertime and Ian
Fenwick
o How to Use News Releases, Blogs, Podcasting, Viral Marketing and Online Media to Reach Buyers Directly’
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by David Meerman Scott
o ULTIMATE GUIDE TO FACEBOOK ADVERTISING (PB) ‐MARSHALL P
o KILLER FACEBOOK ADS ‐WEINTRAUB
SPECIAL NOTES:
o Case Studies on Mobile Marketing
ADDITIONAL REFERENCES:
o Achieving Competitive Advantage through Wireless Technology’ by Alex Michael and Ben Salter
LIST OF TUTORIALS:
o NIM Interface
PAEMA AM 416 A. Dissertatio n / Field Work
Objectives:
To work in a real environment | To get first hand feel at handling live projects and
understand the business world| To create industry ready professionals
The Students will be encouraged to take a live business project as part of their
curriculum. This will not only make the student an industry ready professional but also reduce the gap of bookish knowledge vs actual market knowledge. This will also enable entrepreneurship abilities in them
Evaluation Criteria for Semester IV Fin al Project report:
• The Projects will be evaluated by a select panel by the University of Mumbai. The
members could be from the field of media and /or faculty of literature / Sociology /
Psychology / History / journalism/communication or equivalent to the re of
• The panel will be selected from the field of Film and television & Web media industry/
or faculty of literature/Sociology/Psychology/History or equivalent to there of
With and active work experience of 5 years in media or in the field of expertise and above
• The Students will be required to upload their project on a central server and the selected panelist can view the work at his / her convenience.
******
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