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Syllabus of Certificate Course in Film Appreciation 1 Syllabus Mumbai University by munotes
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Submission on Feasibility of Starting New Courses as per the Provision of
Maharashtra Public University Act 2016
Ac - 23/7/2020, Resolution No. 4.25
CERT IFICATE COURSE IN FILM APPRECIATION
1. Necessity of Starting this course:
The course is necessary to kindle the interest of students in all aspects of
cinema, from its technical aspects to the aesthetic and ideological nuances. It is
designed to teach the students to deconstruct and appreciate the appeal, power
and potential of the cinematic medium.
2. Whether UGC has recommended to start the said Courses?
UGC has given guidelines for introduction of career oriented courses
( https://www.ugc.ac.in/oldpdf/xiplanpdf/revisedcareerorientedcourses.pdf ).
Universities are allowed to run the diploma / certificate courses and with due
approval of its governing councils/ stat utory council wherever required
(Ref: https://www.ugc.ac.in/faq.aspx ). However, u/s 5(16) under Maharashtra
Public Universities Act, 2016 (Mah. Act No. VI of 2017), Universi ties are
empowered to start to prescribe the courses of instruction and studies in choice
based credit system for the various examinations leading to specific degrees,
diplomas or certificates in a stand -alone format or joint format with other State
or nat ional or global universities.
3. Whether all the courses have commenced from academic year 2019 -20?
The above certificate course recommended by the BoS in English, and further
approved by the statutory bodies is to be introduced from the Academic Year
2020 -2021 .
4. The courses started by the University are self -financed, whether adequate
number of eligible permanent Faculties are available?
The certificate course is purely self -financed. The department/affiliated
colleges interes ted in its affiliation need to comply with the norms laid down as
above.
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5. To give details regarding duration of the course and is it possible to
compress the course?
The duration of the course is maximum 6 month {6 Months (July -December /
January -June) } with total 30 contact hours consist of maximum 2 Credits on
completion of total 30 hours.
6. The intake capacity of each course and no. of admissions given in the
current academic year (2019 -20)
The intake capacity is set to maximum 40 students per batch.
7. Opportunities of employability/employment available a fter undertaking
these courses:
The film appreciation course can be a gateway to further education in Film
Studies or Film -making, and lead to potential employment opportunities in any
of these careers:
Film director
Film producer
Film editor
Location manager
Cinematographer
Camera operator
Video editor
Art director
Program manager
Script/screenplay writer
Film critic
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University of Mumbai
Certificate Course in Film Appreciation
Syllabus (with effect from the academic year 2020 -21)
(Choice Based Credit System)
Board of Studies in English
Dr. Sudhir Nikam (Chairperson)
Dr. Rajesh Karankal (Member) Dr. Santosh Rathod (Member)
Dr. Bhagyashree Varma (Member) Dr. Deepa Mishra (Member)
Dr. B. N. Gaikwad (Member) Dr. Dattaguru Joshi (Member)
Dr. Satyawan Hanegave (Member) Dr. Deepa Murdeshwar -Katre (Member)
Syllabus Sub -Committee
Dr. Rajesh Karankal (Convener): Department of English, University of Mumbai
Dr. Michelle Philip (Member): Department of English , Wilson College, Girgaon
Dr. Preeti Oza (Member): Department of English , St. Andrew’s College, Bandra
Dr. H.L. Narayan Rao (Member): Department of English , Bhavan’s College, Andheri
Dr. Sucharita Sarkar (Member): Department of English , DTSS College, Malad
Dr. Balasaheb Gaikwad (Member): Department of English , B. K. College, Vengurla
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Board of Studies in English
Syllabus
1 Title of the Course Certificate Course in Film Appreciation
2 Eligibility for Admission Candidate who passed 10+2 examination in Arts /
Science / Commerce or equivalent examination
3 Intake Capacity 40 Students per batch
4 Passing Marks The candidate must obtain 40 % of the total marks
in external and internal examination to pass the
course
5 Selection First Come First Served Basis
6 Credits 02 Credits
7 Duration of the Course 6 Months (July -December / January -June)
8 Number of Lectures 30 Hours
9 Fee Structure Rs. 2000/ - (The fee covers tuition fee,
remuneration of teacher, infrastructural expenses,
books, stationary, examination fee etc.)
10 Teaching Faculty
Qualification As per UGC Guidelines
11 Remuneration of T eacher As per University / Government Guidelines
12 Centre Any College/Department/Institution under the
purview of the University of Mumbai
13 Level P.G. / U.G. / Diploma / Certificate
(Strike out which is not applicable)
14 Pattern Yearly / Semester
(Strike out which is not applicable)
15 Status To be implemented from the
Academic Year 2020 -2021
Date:
Signature:
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Certificate Course in Film Appreciation
Preamble :
The interactive and practical nature of this course is intended for students of all subject
backgrounds. It is designed to provide, through lectures, film -viewing, interactive discussions,
readings, projects, field visits and online blogs, a deeper underst anding of film analysis from
the perspective of film history, genres, film movements, and film as art and film as propaganda.
Since film is a visual medium, film viewing will form a large part of the course. Films, from
the inception of this form through i ts growth and to its present postmodern format, will be
carefully curated and recommended. Students will also be encouraged to try their skill at story
boarding and creating short films to show their understanding of the concepts learned.
Necessity of the Course:
The course is necessary to kindle the interest of students in all aspects of cinema, from
its technical aspects to the aesthetic and ideological nuances. It is designed to teach the
students to deconstruct and appreciate the appeal, power and potential of the cinematic
medium.
Objectives: The objectives of this course are as follows:
1. To enable students to appreciate film in a more informed manner
2. To introduce early film history
3. To elucidate the process of film making through cinematography
4. To elaborate on the contribution of various film movements in shaping the way films
are now made
5. To identify genres and their structure
6. To provide a general introduction to the concept of film as art and the role of the
auteur
7. To understand new methods of identifying fil m ideology through spectatorship
theory
Learning Outcomes: On the completion of the Film Appreciation Course students are
expected
1. To be able to demonstrate a more -than-average level of proficiency in writing about
film in a more informed manner
2. To have s ome level of expertise in identifying film vocabulary, techniques of
filmmaking, styles
3. To show some ability to appreciate innovations in cinematography, multilinear
narratives and other contemporary styles
4. To appreciate the role of film as a powerful visu al medium in shaping our personal
and cultural identity
5. To demonstrate some knowledge of film history and the process of film making
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Unit I: Introduction: (06 Lectures)
a) Early film history, development of film as a form, narrative structure in film
making from the point of view of specific film clips.
- Technological innovations in cinema, directorial interventions, development of
narrative. Films of Lumiere Brothers, George Melies, D.W. Griffith, Orson Welles
- Film development in India -a history: Contribution to cinema in India -Dada Saheb
Phalke/ Harishchandrachi Factory (2009) Dir Paresh Mokashi(Not for textual
study)/ Alam Ara (1931) DirArdeshir Irani –(Not for textual study but should be
watched as part of the course)
b) Survey of European Film Movements: Should be taught from the perspective of
form and narrative structure with reference to how these have influenced the
development of cinematic techniques.
Soviet Montage: Battleship Potemkin (1925) Sergei Eisenst ein, Strike (1925)Sergei
Eisenstein
German Expressionism: The Cabinet of Dr Caligari (1920), Robert Weine, Nosferatu
1922 F.W. Murnau
Italian Neo -Realism: Bicycle Thieves 1948 Vittorio de Sica, Shoeshine 1946 Vittorio
de Sica
French New Wave Cinema: The 400 Blows 1959 Francois Truffaut, Breathless 1960
Jean Luc Goddard
Unit II: Film Aesthetics (08 lectures)
The following should be taught by demonstration using examples from films. They should be
studied from the perspective of writing a film review . The focus of this unit should be on
how cinema uses these techniques for effective visual storytelling.
a. The Language of Cinema: Cinematography/Mise -en-scene: Framing and
Composition, Shots, Establishing Shot (Citizen Kane, Rebecca, Hugo, Phone Booth -
iconic opening scenes can be used) Angles, Camera Movement, POV shot, 180
Degree rule, Diegetic, Non -diegetic sound.
b. Editing Techniques: How does editing affect the narrative? Editing –Early
Cinema -Films of Edwin Porter and Sergei Eisenstein.
Montage, Stand ard cut, Jump cut, Cross Dissolve,Fade in -Fade out, J/L Cuts, Cutting
on Action, Cross cutting (Parallel Editing), Match cuts, Cutaways, Smash Cuts,
Invisible Cuts, Wipe.
Unit III: Film Analysis (08 Lectures)
Three films (not more than one per cate gory) are to be analysed through viewing of select
scenes followed by detailed discussion based on the perspective suggested in the heading.
Learners are expected to watch the entire films on their own.
Auteur Films:
In the Mood for Love (2000) Dir Wong K ar Wai (Hongkong)
The Dark Knight(2008)Dir Christopher Nolan
The Last Lear 2007 Dir Rituparno Ghosh (Bengali queer auteur director)
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Psychoanalytical Perspective:
Black Swan (2010) Dir Darren Aronofsky
15 Park Avenue (2005) Dir Aparna Sen
Gendered Perspective:
The Day I Became a Woman (2000) Dir Marzieh Meshkini (Iranian)
Kahani (2012) Sujoy Ghosh
Nude (2018) Dir Ravi Jadhav
Unit IV: Film Analysis (08 lectures)
Three films (not more than one per category) are to be analysed through viewing of sele ct
scenes followed by detailed discussion based on the perspective suggested in the heading.
Learners are expected to watch the entire films on their own.
Narrative Study:
Parasite (2019)Dir Bong Joon -ho
Spirited Away (2001) (anime) Dir Hayao Miyazaki
Drishyam (2015) NishikantKamat
Postmodern Perspective:
Pulp Fiction (1994) Dir Quentin Tarantino
Di lChahta Hai (2001) Dir Farhan Akhtar
Caste
Article 15 (2019) Dir Anubhav Sinha
Palasa 1978 (2020) Dir Karuna Kumar
Marxist:
Zindagi Na Milegi Dobara(2011) Dir Zoya Akhtar
Super 30 (2019) Dir Vikas Bahl
V for Vendetta (2005) Dir James McTeigue
Disability S tudies:
Margarita with a Straw (2014) Dir Shonali Bose
Yellow (2014) Dir Mahesh Limaye
Evaluation Pattern:
A) Internal Assessment (40 Marks)
1. One assignment based on curriculum suggested by the teacher for Internal Assessment.
This can include making a short film or storyboarding for a short film 10
Marks
2. One classroom presentation on the assignment & Viva 10 Marks
Recommended Films:
Modern Times (1936) Charlie Chaplin
Parasakthi (1952) Dir R. Krishnan
Vertigo (1958) Dir Alfred Hitchcock
Sholay (1975) Dir Ramesh Sippy
Mirch Masala (1987) Dir Ketan Mehta
Sujata (1952) Dir Bimal Roy
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Umbartha (1982) Dir Jabbar Patel
Neelakuyil (1954) Dir P. Bhaskaran and Ramu Kariat
3. Field Visit: A field visit should be organized by the department and individual reports
submitted by each student. 20
Marks
B) Semester End Examination Pattern 60 Marks
Question 1: Short Notes from Unit I: (3 out of 6) 15 marks
Question 2: Essay qu estion on Unit II (1 out of 2) 15 marks
Question 3: Essay que stion on Unit III (1 out of 2) 15 marks
Question 4: Essay qu estion on Unit IV (1 out of 2) 15 marks
Recommended Readings:
• Arnheim, Rudol f. Film as Art . University of California Press, 1957.
• Ambedkar, B. R. “Castes in India: Their Mechanism, Genesis and Development.” Dr.
Babasaheb Ambedkar: Writings and Speeches, Vol. 1 . Education Department,
Government of Maharashtra, 1979.
• Bordwell, David and Kristin Thompson Film Art: An Introduction. Eleventh edition,
New York: McGraw -Hill, 2016.
• Braudy, Leo & Cohen, Marshall (Eds). Film Theory & Criticism: Introductory
Readings . Oxford U.P, 2016.
• Bywater, Tim and Thomas Sobchack. Introduction to Fi lm Criticism. Major Critical
Approaches to Narrative Film . Pearson Education, 2009.
• Cahir, L. Literature into film: Theory and practical approaches . Jefferson, N.C.:
McFarland& Company, 2006.
• Chatterjee, Shoma, A. Hundred Years of Jump -cuts and Fade -outs: Tracking Change
in Indian Cinema. Rupa, 2014.
• Corrigan, Timothy. A Short Guide to writing About Film , Pearson Education Inc. 2007
• Giannetti, Louis. Understanding Movies (11th edition), Prentice Hall, 2008.
• Grant, Barry Keith. Auteurs and authorship: a fi lm reader , Blackwell Publications 2008
• Hess, John. “Film and Ideology”. Jump Cut , no. 17, April 1978, pp. 14 -16.
• Kleinhans, Chuck. “Marxism and Film.” In The Oxford Guide to Film Studies . Edited
by John Hill and Pamela Church -Gibson, 106 –113. Oxford: Oxfor d University Press,
1998.
• McDonald, Kevin. Film Theory: The Basics , Routledge, 2016.
• Monaco, James. How to Read ailm: Movies, Media and Beyond . Oxford University
Press, 2004.
• Linton, James. “But it's only a movie” Jump Cut , no. 17, April 1978
• Žižek, S lavoj. The Fright of Real Tears: Krzysztof Kieślowski Between Theory and
Post-Theory . 2001
• Gangar, Amrit. "Films from the City of Dreams." Ed. Sujata Patel. Bombay: Mosaic
of Modern Culture . Ed. Alice Thorner. Bombay: Oxford UP.
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• Gehlawat, Ajay. Reframing Bollywood: Theories of Popular Hindi Cinema . N.p.:
Sage Publications, 2010. Print.
• Gledhill, Christine., "Pleasurable Negotiations." Female Spectators: Looking at Film
and Television . Ed. D. E. Pribram. London: Verso, 1988. 64 -89. Print.
• Gledhill, Christine., Recent Developments in Feminist Criticism in Film Theory and
Criticism, Introductory Readings. Eds: Leo Braudy and Marshall Cohen, New York
and Oxford: Oxford University Press, 1999
• Hayward, Susan. Key Concepts in Cinema Studies. 2nd ed. Chenna i: Routledge,
2004. Print. First Indian Reprint
• Kaarsholm, Preben, ed. City Flicks City Flicks: Indian Cinema and the Urban
Experience. Calcutta, New Delhi: Seagull, 2004. Print.
• Kabir, Nasreen Munni. Bollywood: The Indian Cinema Story. London: Pan
Macmill an, 2001. Print.
• Kavoori, Anandam P., and Aswin Punathambekar. Global Bollywood. New Delhi:
Oxford UP, 2009. Print.
• Majumdar, N. "The Embodied Voice: Song Sequences and Stardom in Popular Hindi
Cinema." Soundtrack Available: Essays on Film and Popular Musi c. Ed. P. R. Wojcik
and Arthur Knight. Durham: Duke UP, 2001. 161 -85. Print
• Mankekar, P. "Brides Who Travel: Gender, Transnationalism, and Nationalism in
Hindi Film." Positions 7.3 (1999): 731 -61.
• Mathur, Vrinda. "Women in Indian Cinema: Fictional Constr ucts." Films and
Feminism: Essays in Indian Cinema. Ed. Jasbir Jain and Sudha Rai. Jaipur and New
Delhi: Rawat Publications, 2002. N. pag. Print.
• Mazumdar, R. "From Subjectification to Schizophrenia: The ‘Angry Man’ and the
‘Psychotic’ Hero of Bombay Cinem a." Making Meaning in Indian Cinema. Ed. R.
Vasudevan. New Delhi: Oxford UP, 2000. 238 -66. Print.
• Mishra, Vijay. Bollywood Cinema: Temples of Desire. New York: Routledge, 2002.
Print.
• Mulvey, Laura. "Visual Pleasure and Narrative Cinema." 1975. Visual Cul ture: The
Reader. Ed. Jessica Evans and Stuart Hall. London: SAGE Publications in
Association with the Open U, 1999. 381 -89. Print.
• Nandy, Ashis. The Secret Politics of Our Desires: Innocence, Culpability, and Indian
Popular Cinema. London: Zed, 1998. Prin t.
• Patel, Sujata, and Alice Thorner, eds. Bombay: Metaphor for Modern India. Bombay:
Oxford UP, 1995. Print.
• Pinto, Jerry. The Greatest Show on Earth: Writings on Bollywood. New Delhi:
Penguin, 2011. Print.
• Prasad, M. Madhava. Ideology of the Hindi Film: A Historical Construction. Delhi:
Oxford UP, 1998. Print.
• Rajadhyaksha, A. "Viewership and Democracy in the Cinema." Making Meaning in
Indian Cinema. Ed. Ravi Vasudevan. New Delhi: Oxford UP, 2000. 267 -96. Print.
• Rhode, Eric. A History of the Cinema: From its Origins to 1970. Allen Lane, 1976.
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• Roy, Anjali Gera., ed. The Magic of Bollywood: At Home and Abroad. New Delhi:
SAGE Publications, 2012. Print.
• Saari, Anil. Indian Cinema: The Faces behind the Masks. New Delhi: Oxford UP,
2011. Print.
• Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and
Cinema. Bloomington: Indiana U Press, 1988. Print.
• Smelik, Anneke. And the Mirror Cracked: Feminist Cinema and Film Theory. New
York: St. Martin's Press, 1998. Print.
• Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London:
Routledge, 1994. Print.
• Vasudevan, Ravi. Making Meaning in Indian Cinema. New Delhi: Oxford UP, 2000.
Print.
• Vasudevan, R. “Cinema in Urban Space.” Seminar, No. 525. N.p., n.d. Web. 23 Feb.
2004.s
• Virdi, Jyotika. The Cinematic ImagiNation: Indian Popular Films as Social History.
New Brunswick, NJ: Rutgers UP, 2003. Print.
• http://indianexpress.com/article/entertainment/bollywood/iifa -2016 -theres -
resurgence -of-strong -women -characters -in-bollywood -freida -pinto -2876879/
Films and Documentaries
• Arrival of a Train at La Ciotat (dir. Lumière brothers), 1896.
• A Trip to The Moon (dir.GeorgesMéliès) 1902.
• The Great Train Robbery (dir.Edwin Porter) 1903.
• Birth of a Nation (dir.D.W. Griffith),1915.
• Battleship Potemkin (dir. Sergei Eisenstein), 1925.
• Metropolis (dir. Fritz Lang), 1927.
• Citizen Kane (dir. Orson Welles), 1941.
• 100 years of Cinema
(https://www.youtube.com/channel/UCbM9iT_PqBCUOQdaREDAP3g )
• The Pervert’s Guide to Ideology (dir. Sophie Fiennes), 2012.
• 8 Essential Cuts Every Editor Should Know by Jonatha n Paul
• 13 Creative Film and Video Editing Techniques -Pond5 -
https://bit.ly/2EVfhfX /Shuttershock Tutorials
• The Pervert Guide to Cinema (dir. Sophie Fiennes), 2006.
Note:
1. At the end of the course, the Centre (College/Institute/Department) should ensure that the
university rules and regulations have been duly followed .
2. On the basis of examination results and credits earned by the student, the Centre will issue
the joint certificate with the name of University and College/Institute/Departmen t.