TRIBHUVAN UNIVERSITY

FACULTY OF HUMANITIES AND SOCIAL SCIENCES

FILM STUDIES
CURRICULUM FOR THREE YEARS BACHELOR LEVEL
PROGRAMME IN FILM STUDIES

2065

FILM STUDIES SUBJECT COMMITTEE

TRIBHUVAN UNIVERSITY, KIRTIPUR, KATHMANDU
NEPAL

1
Courses of Study for 3 years Bachelor
In
Film Studies

Tribhuvan University

Faculty of Humanities and Social Sciences

Kirtipur, Kathmandu, Nepal

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 TRIBHUVAN UNIVERSITY
FACULTY OF HUMANITIES AND SOCIAL SCIENCE
BACHELOR IN FILM STUDIES

Objectives

A three- year Bachelor program has been introduced in Film Studies under the Faculty of
Humanities and social science with a view to accomplishing the following objectives:

a) To acquaint the students with the knowledge of various aspects of performing acts
especially in film studies.
b) To produce able and efficient manpower needed to Film industries and
c) To generate knowledge and skills required for the job market.

Course structure
There will be sixteen papers each carrying 100 marks and divided as follows:
1) Compulsory subject - 800
2) Specialization subjects - 600
3) Term paper - 100

1. Compulsory subjects. The following papers are prescribed as compulsory subjects each
carrying 100 marks.

1) English
2) Nepali
3) History
4) Culture
5) Sociology and Anthropology
6) Psychology
7) History of Film
8) Basic Film Theory

2. Specialization: The students will have to choose any one of the following specialized
subject. Six papers are included in each specialized section.

1) Acting
2) Direction and Screen writing

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 3) Cinematography
4) Autography
5) Editing

Course Cycle

First year
Paper Code No. Subject Full Marks

I FS311 Comp. English 100

II FS 312 Comp. Nepali 100
III FS 313 Comp. History 100
IV FS 314 Comp. History Film 100
V FS 315 Comp. Basic Film Theory 100
Second Year
Paper Code No. Subject Full Marks

VI FS 316 Comp. Culture 100

VII FS 317 Comp. Sociology and Anthropology 100
VIII FS 318 Comp. Psychology 100
IX FS 319 Comp. Term Paper 100
X FS 320 Specialization I 100
Specialization:- Students can choose any one of the following Subject
Paper Code No. Subject Full Marks

X FS 320 Specialization 100

A. FS 320 Acting (Act.) I 100
B. FS 320 Direction & Script Writing I 100
C. FS 320 Motion Picture Photography (MPP) I 100
D. FS 320 Audiography (Aud.) I 100
E. FS 320 Editing (Ed.) I 100
Third Year
Paper Code No. Subject Full Marks

XI FS 321 Specialization II 100

XII FS 322 Specialization III 100
XIII FS 323 Specialization IV 100
XIV FS 324 Specialization V 100
XV FS 325 Specialization VI (Project Work) 100

Specializations
1) Acting
i. 320. Act. Introduction to Performing Act
ii. 321. Act. Body and Movement
iii. 322. Act. Speech and Voice
iv. 323. Act. Building and Character
v. 324.Act. Acting on Stage and Camera and Techniques and Method of Performance.
vi. 325.Act. Project Work

2) Direction and Screen Writing

i) 320.Dir. Conceptualizations of Film as an Art
ii) 321.Dir. Story Analysis
iii) 322.Dir Techniques of Screen Writing
iv) 323.Dir. Art of Adaptation
v) 324.Dir Direction Shot by Shot and Direction- Actors

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 vi) 325.Dir Project Work.

3) Motion Picture Photography.

i) 320.MPP Introduction to cinematography

ii) 321.MPP Motion Picture Camera and Lenses
iii) 322.MPP Visual Composition and its Different Approaches
iv) 323.MPP Principles of Lighting
v) 324.MPP Laboratory Process of production, post Production and Modern Development in
Cinematography
vi) 325.MPP Project Work

4) Audiography

i) 320.Aud. Introduction to Audiography

ii) 321.Aud. Fundamentals of Electricity
iii) 322.Aud. Fundamentals of Electronics
iv)323.Aud. Acoustics
v)324.Aud. Audio- Recording, Mixing and Technology of Audiography
vi) 325.Aud Project Work

5) Editing

i) 320.Ed Introduction to Film Editing

ii) 321.Ed Principles of Sound Edition
iii) 322.Ed. Principles of Picture Editing
iv) 323.Ed Practice of Editing
v) 324.Ed. Laboratory Procedure, Television Technology and Digital Editing system
vi) 325.Ed. Project Work

Requirements

1) An academic year will consist of (at least) 160 teaching days.

2) Each paper of 100 marks will have ( at least) 150 lectures of an hour
3) The subject committee will allocate adequate time to both theory and practical courses.
4) Students must secure at least 35 marks in each paper ( including theory and practical )

Eligibility Criteria

The following will be eligible to apply for admission to Film Studies

1. Those who have passed the proficiency Certificate Level Examination of Tribhuvan University
2. Those who have passed the Higher Secondary school of Education ( 10+2)
3. Those who have passed any other equivalent examinations.

Entrance Test

There will be an entrance test for the applicants willing to pursue the Film Studies. The subject matter for the
entrance test examination will be decided by the subject committee.

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 First Year
Paper Code No. Subject Full Marks

I FS311 Comp. English 100

II FS 312 Comp. Nepali 100
III FS 313 Comp. History 100
IV FS 314 Comp. History Film 100
V FS 315 Comp. Basic Film Theory 100

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 Compulsory English
(English Syllabus for Film Studies)
FS 301 Paper: I
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 150

Introduction

Film Studies is a new academic program affiliated with Tribhuvan University, Nepal. The
importance of English language is very high for this program because the graduates of film
studies will need English language for various purposes, most importantly, for making their
studies broad based in the context of today's global use of this versatile medium.

Objectives

At the end of the study of this course the students will be able to-

i. Comprehend quite advanced reading texts

ii. Write essays on the subjects of their interest and area of study
iii. Recognize various major trends in the use of English language.

Scope of the Study

The English syllabus covers diverse areas of language use especially, in the area of humanities
and social sciences. There will be a good corpus of reading materials for the students of film
studies who will have to encounter literary and other forms of creative and discursive texts in the
course of their activities. This syllabus will present fairly large samples of such texts, as well as
demonstrate how such texts are formed.

Course Contents

The course is divided into two groups:

a) Core English detailed study -- 60 marks
b) Non-detailed study -- 40 marks.

Prescribed texts 80

Group A (for detailed study)

Adventures in English by Moti Nissani and Shreedhar Lohani (Kathmandu: Ekta Books). Use of
the accompanied audiocassettes is advised.

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Group B (for non-detailed study) 70

Encounters by Shreedhar Lohani, Rameshwar Adhikary and Abhi Subedi (Kathmandu: Ratna
Pustak Bhandar)

Evaluation
Adventures will cover 60 Marks
Encounter will cover 40 Marks

Guidelines for paper setting

1. Reading comprehension: 30 marks (two passages will be set for two comprehension
questions of 15 marks each.
2. Composition questions will cover 20 marks. Composition will cover both reflective
topics as well as those based on the reading of the texts in the prescribed book.
3. Question/s on practical exercises and grammar will cover 10 marks.
4. Questions for Encounter will cover:

-Recall type questions or question based students' reading of the text-- 15 marks,
-Interpretative questions based on student's critical interpretation of one or two
texts --15 marks, and
-One free composition based on the student's own response to a particular literary
work of any genre -- 10 marks

8
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FS 303 Paper II
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 150

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11
 History of Nepal
FS 303 Paper: III
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160

Nepal, situated between the two big neighbors, is a sovereign independent kingdom since the
dawn of its history. It has well maintained its identity by its own cultural, social and political
heritage. Nepal is well known in the world as the birthplace of Lord Buddha and the country of
Mt. Everest.

The curriculum of the history of Nepal from the earliest time to 1990 A.D. is divided as follows:

a) Political History - Marks 50

b) Socio-Cultural History - Marks 50

Course Objectives

The main objectives of the course are as follows

1) To familiarize the students with the trend of the political history from the earliest time to
1990 A.D. with an introduction to the main events of the different periods.
2) To give idea about the formation of the Kathmandu valley and different views about the
nomenclature of Nepal.
3) To deal with the main features of the Lichchhavi rule.
4) To acquaint the students with the trends that led to the political division of Nepal into
many principalities.

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5) To trace the political history of the principalities.
6) To deal with the strategies, methods and battles fought for the unification of Nepal.
7) To trace the political history of unified Nepal by analyzing the new trends.
8) To deal with the characteristics and main events of Nepal during the Rana and post-Rana
periods.
9) To acquaint the students with the main features of the Panchayat period.
10) To make the students familiar with the development of the habitation sites at different
periods.
11) To acquaint them with the various types of dress and ornaments of different periods as
well as ethnic groups.
12) To familiarize them with food and drinks of the periods and ethnic groups.
13) To deal with the entertainment - communal, regional and national.
14) To make acquaint the students with different social habits and cultures.
15) To familiarize with the fairs and festivals of Nepal - local, ethnic and national.
16) To acquaint them with different religious and cultural aspects of life.

a) Political History

Marks: 50

Course Contents

Units Lect. Hrs

I (A) Background 10

a) What is History?
b) Origin of Nepal-- the Kathmandu valley
c) Antiquity and nomenclature of Nepal
c) Geographical influence on the history of Nepal

(B) Early History 10

a) Lumbini, Kapilavastu, Ramagrama

b) Lord Buddha
c) Gopal and Mahispala dynasties
d) Kirat history and legacy

II Ancient and Medieval Periods 10

a) Lichchhavi Rule with special reference to Mandeva, Amsuvarma and

Narendradeva
b) Malla Period-- trend of political history
c) Brief history of Simroangarh and Khasa Malla kingdom

13
 d) Short history of Baisis and Chaubisis

III Modern Period (1743 - 1950) 10

a) Unification of Nepal (1743 - 1816)

b) Post-Unification Period (1816 - 1846)
c) Rana Period (1846 - 1950)

IV Recent History (1951 - 1990) 10

a) Post Democracy Experiment (1951 - 1960)

b) Panchayat System (1960 - 1990)

b) Socio-Cultural History

Marks: 50

Lect. Hrs
V Habitational Sites 10

a) Habitational sites of ancient period

b) Fortification of the capital towns and suburb areas
c) Expansion of towns and urban development
d) Comparative study of the palace structures, with special reference to the Malla
palaces and the Rana palaces.

VI Social Life 10

a) Peoples
b) Social Structure
c) Family System

VII Nepalese Social Habits and Culture 10

a) Food and Drink

b) Dress and Ornaments
c) Manners and Etiquette
d) Superstitious beliefs
e) Entertainment

VIII Social Evils: Changes and Reforms 10

a) Sati system

14
 b) Slavery
c) Position of Women
d) Caste System and Untouchability
e) Marriage system: Polygamy, Polyandry and Widowhood

IX Socio-Cultural Studies: Fair and Festivals 10

a) Syncretic tendency of the Nepalese society

b) Ethnic and Socio-Cultural Features of the Nepalese Society
c) Fairs and Festivals

i) Dashain
ii) Tihar
iii) Holi
iv) Teej
v) Losar
vi) Chhath

vii) Rato Machhendra Rath Yatra

viii) Gaijatra
ix) Ghatu
x) Bisket

X Seminar 10

Student has to present a seminar paper in the class as directed by the concerned teacher/advisor.

Text Books

1) Rishi Kesh Shah, Ancient and Medieval Nepal

2) Rishi Kesh Shah, Modern Nepal, 2 Vols.
3) T.R. Vaidya, Advanced History of Nepal
4) Vaidya et,al, Social History of Nepal
5) Mary Anderson, The Festivals of Nepal

15
 History of Film
(Compulsory)
FS 304 Paper: IV
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160

Objective

This paper is designed with a view to imparting the knowledge of basic components of the Film.

Unit Tech. Hrs.

I History of Film 5

a) Origin of Film and development.

b) Persistent of vision theory - Invention of kinetoscope / Projector / Camera. etc.
c) The beginning of Film Continuity Lumiere brothers - George Milies.

II Social and Cultural History of Cinema 5

A) Early Cinema

From Magic lantern to Moving Picture: 1835 - 1903. History of technological

developments in the field of Photography, Projection and Persistent of vision.
Contribution of the pioneer inventors and entrepreneurs (Industrialist), the
Nickelodeous and its audience, emergence of cinema as a medium of
entertainment and as cultural form cinema comes to co. India.

B) The development of the classical Hollywood Cinema 1903 - 1927.

5
a) Rise of the film industry in America, Europe and elsewhere.
b) Development of the classical natural style. Works of Porter, Griffith,
Elisentim, and Pudovkiu, among others and their. Contribution in the
development of film language.

16
 C) Cinema and other arts: 1914 - 1930 5

Major art movements and their influence on the film medium.

Non-Hollywood. Experimentational film forms and the language.
Three case studies:
a. German Expressionism & Cinema- 1914 - 1927
b. Impressionism, Surrealism and Cinema 19117 - 1930
c. Constructivism and Cinema 1924 - 1930

D) The Sound Era: 1926 Onwards 10

Coming of sound in cinema. The studio system and development of a

new language of cinema: 1929 - 1945.
a. The studio system, and the introduction of the institutionalized
mode of Production.
b) The star system and the language of popular cinema study of different
genre, filues.
c) The rise of studio system in Nepal and changing modes
in film production.
d) Two major International stylistic trends - Movement in post World War II
a. The Italian Neo realism 1942 - 51
b. The French new wave - 1959 - 64

e) Focus on Asian Cinema:

a. Specially - Nepalese Film

III The Electronic Age 5

a) History of television invention and popularity, television as a cultural

form.
b) Changing concepts in Communication theories in the age of electronic media.
Digitalization, Global village.
c) Television, Cable, Satellite and new aesthetics of audio - visual expression
& (Communication) Communicate.

IV History: Hollywood Film, Russian film, French Film. Indian Film and Nepalese Film also.
5

V The History of Cinema 10

a) Chronology
b) Major Historical Periods
c) Technical Development
d) Conceptual Development
e) Genres
f) The Classics and the Great Directors
g) Important Film Movement sand Directions

Film and an Art form (I) 5

a) Development of Film and an Art Form

b) Spectrum of the Arts and the relation of film with the other Arts
c) Music and Color as elements of film

Film as a Mass Communication Medium 5

17
 Film as a Mass Communication Medium

Sociology of Popular Cinema 5

Detailed analysis of a popular Nepali film

VI Audiography
1. Sound as most oldest and natural media of Communication
2. Pre historic period.
3. After civilization
4. World War I up to World War II (The period in most of seemtific in
vemtious happened)
5. Modern period (After World War II up to 2000)
6. After 2000-- the recent scenario

B) Use of sound in Cinema and Television.

VII i) History of Film Editing 15

A) Editing and the silent Film: Maintaining Continuity and Impact

of Joining two shots.
B) Beginning of Film continuity - Lumiere brothers - George Milces.
C) Edwiee S. Poster - Silent Continuity Creative editing - Beginning of story film.
D) G.W. Griffith - Dramatic emphasis - Introducing of shot, scene. etc.
E) Pudovkin - Constructive editing. Starting of new dimension - introducing - Pace -
Rhythm - Arrangements - and Symbolic shot (symbol)
F) Eisentein - Intellectual montage. Different forces of montage - its contribution and
meaning - (Hollywood, France, UK, Russia, Ihari and Nepal)

ii) Development of New Technology 10

A) Video Signal
B) Transmission of Color
C) Video Recording Principles
D) Introduction to the this System of Editing
E) Linear and Non-Linear Editing

VIII.A.Acting:
I) Origin of Acting (in Short)
 Primitive age
 Acting as a way of life
 Sheltering/Hunting/Enigmatic fear/Rituals etc

II) Greek period/tradition of summer Drama Festival (in short)

 Rituals and chanting

III) Eastern Tradition of Acting (in short)

 bharatmukhi and his principle of panchmadeva
 Acting style of Sanskrit drama
 Storytelling and folk form

IV) Raman Theatre (in sort) 2

 Melodrama and voilence
 Medieval theatre: influence of religion and morality in acting
 Shakespearean theatre and its acting style

VIII.B. Cinematography 15
I) Brief History of Photography

18
  photography taken as science, art and evidence

II) Introduction of still camera (History included)

III) Information about lenses

Practicals 40
I) Screening of film and its appreciation
II) Actually trip: Submit report to Direction Dept.
III) Still Photography – Exposing, Developing & Printing.
IV) Demonstration of Editing Equipments and Stock (Celluloid & Video)
V) Demonstration of Audiography Equipments
VI) Acting – Practical as requird.

Text Books
1. Rayleigh, Theoryof Sound Vol I & II
2. Howard Tremaine ,Audio Cyclopedia
3. A.A. McWillams, Tape Recording & Reproduction
4. Alec Nisbett, The Technique of the Sound Studio
5. John Mercer, An Introduction to Cinematography
6. HappGe, L. Bernard, Basic Motion Picture Technology
7. Russell Campbell, Photographic Theory for Motion Picture Cameraman
8. Karel Reisz and Gavin Millar, The Technique of Film Editing
9. Ernest Walter, The Technique of the Film Cutting Room
10. Robert Bracilak and Mamri Bar, History of the Filmi
11. Karel Rigz & Gavin Millar, The Technique of Film Editing, Focal Press, London& Boston.
12. Ernest Walter, The Technique of the Film Cutting Room, Focal Press, London & New York.
13. John Burder, The Technique of Editing 16mm Film, Focal Press.
14. John Burder, 16mm Film Cutting, Focul Press.
15. Thames & Hudson, Manual of Film Editing
16. Thomas Ohanin, Digital Non-Linear Editing How Approaches to Editing & Film - Video.
17. Bethesda, Recommended Procedure for Motion Picture & Video Laboratory Services.
18. SMPTE, Control Technique in Film Processing
19. Graham Roberts & Heather Wallis, Introducting Film
20. Allan Robert, Film History: Theory and Practice
21. Ellis Jack C., A History of Film

References

1. Bartlett, On Location Recording Technique

2. Rumsey, Sound & Recording an Introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Ralph Evans, Eye, Film, and Camera in Color Photography
7. Michel Langford, Basic Photography
8. Johh Child, Studio Photography
9. Mark Galer, Location Photography

19
10. Michel Laugford, Starting Photography
11. James Monaco How to Read a Film
12. Rudolf Arnheim Film as Art
13. Sergei Eisenstein Film Form: Essays in Film Theory
14. Sergei Eisenstein The Film Sense
15. Edward Pincus & Steven Ascher, The Film Maker's Handbook, New American Library
16. James Monaco, How to Read a Film
17. Rudolf Arnheim Film as Art
18. Langford, Independent Film Maker's Manual
19. Richard H Kallenberger, Film Into Video
20. John Watkinson, The Art of Digital Video, 2ED
21. Christine Gledhill & Linda Williams, Reinventing Film Studies
22. Dickson Thorold, A Discovery of Cinema
23. Clair Rene, Cinema Yesterday and Today
24. Mast Gerald, A Short History of the Movies
25. Rhode, Eric, A History of Cinema
26. >L nIdLgfy zdf{, rnlrq / Oltxf; -;femf k|sfzg_
27. >L k|sfz ;fodL, rnlrq: snf / k|ljlw

Basic Film Theory

(Compulsory)
FS.315. Paper: V
Full Marks: 100
Pass Marks: 35
Tech.Hrs. 160

Objectives

The objective of this paper is to provide the knowledge of the basic concepts of the theories in
Film Studies.
Course contents

I.General Concept of Film Making Theories 5

1.1 Principles of film
A. Introduction of cinema
i. Meaning & Contents
ii. Basic techniques

Film Syntax

a) Film Structure
b) Rules of Dimensional Geography
c) Sense of Direction
d) Pictorial Communication
e) Aural Communication
f) Textual Communication

Major Film Theories

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 1. Materialist cinema theories in Eisenstein.
2. Cine-semiotics and structuralism, Mety and others.
3. Idealism in cinema theories of Andre Bajin
4. realism, Neo- realism, Surrealism, Expressionism & Impressionism

Film as an Art Form (II)

a) Spectrum of the Arts and the relation of film with the other Arts
b) Music and Color as elements of Film

The Language of Film

a) Space
b) Time
c) Picture
d) Sound

Film Vocabulary

a) Conventions
b) Enlargement and Composition
c) Aspect Ratio
d) Camera Elements

Genre

a) Film Genres
b) Relationship between Structure and Genre
c) Mixing Genres
d) Reinventing Genres
e) Documentary Films

The Film Team

a) Duties and Functions of the Film Unit

b) Inter-relationships of Different Functions
c) Collective and Individual Contributions

Film Screening: Examples of different genres, Directors, themes.

Unit
General Concept of Editing

2.1 Principle of Editing

a) Editing the picture
b) Constructing a lucid (clear) continuity: smoothness
c) Matching consecutive actions
d) Extent of change in image sign and camera angle
e) Preserving a sense of direction

21
 f) Matching tone
g) Making sound flow over a cut
h) Timing
i) Pace: Rhythm
j) Selection of shot
k) Synchronization of sound with picture

2.2 Editing of Picture and Sound: Keeping in mind - role of Sound

a) Dialogue - Original - Overlapping - Off voice - Narration (Commentary)
b) Music (Background Music) - Pre - recorded Stock - Recording with
Projection of Film or Without Film.
c) Playback (Song)
d) Effect: Syne - Non syne-Environmental

IV Introduction of video Editing 5

III. Basic Knowledge of Acting Theory

3.1 Comprehensive Basic Acting Theory

1. Introduction: What is Art?
2. Kinds of art

a) Literary art b) Visual art, and c) Performing art

3. Introduction to performing arts

a) Music b) Ballet c) Dance d) Mime e) Drama f) Film

4. Acting as an art form/Acting as a medium

5. Relation of acting with other elements of the arts
6. Eastern method of acting

The Natyashastra by Bharatmuni and his Rasa Theory. Elements of acting

according to the Natyashastra. Angika: Actor's body, movement, gesture, posture,
and outer expression
Bachika: The voice and speech
Satwicka: Emotions and feelings
Aharya: Costume, make-up and its accessories

IV. Basic Knowledge about Audiography

4.1 General system of audiography

a) Introduction of subject – sound (in short)
b) Basic principal of sound (in short)
c) Basic recording and play back chain (in short)
d) Different stage of sound in cinema

4.2 Importance of Sound in Cinema

22
 1) Silent Cinema
2) Attempts of adding sound in cinema use of live orchestra and commentator.
3) Important inventions that helped in developing sound in cinema ex.
Gramophone, Electricity, Vacuum tube and Audio amplifiers etc.
4) Use of film sound recording (Talkie Era)

V. Basic knowledge of Cinematrography

1. Composition
2. lighting (Still photography) outdoor+ indoor
3. types of lenses (block and zoom)
4. Types of still camera
5. Types emulsions
6. photochemestry (B/W0
7. Practicals and project work.

Practical:

I. Film Screening: Examples of different generes, Directors, Themes Projection of film &
Analysis of it in different angles like:
II. Director's viewfinder, Workshop & Visual script
III. Others Class Practical - As per required to the concern subject

Text Books

1. Rayleigh, Theoryof Sound Vol I & II

2. Howard Tremaine ,Audio Cyclopedia
3. A.A. McWillams, Tape Recording & Reproduction
4. Alec Nisbett, The Technique of the Sound Studio
5. John Mercer, An Introduction to Cinematography
6. HappGe, L. Bernard, Basic Motion Picture Technology
7. Russell Campbell, Photographic Theory for Motion Picture Cameraman
8. Karel Reisz and Gavin Millar, The Technique of Film Editing
9. Ernest Walter, The Technique of the Film Cutting Room
10. Robert Bracilak and Mamri Bar, History of the Filmi
11. Karel Rigz & Gavin Millar, The Technique of Film Editing, Focal Press, London&
Boston.
12. Ernest Walter, The Technique of the Film Cutting Room, Focal Press, London & New
York.
13. John Burder, The Technique of Editing 16mm Film, Focal Press.
14. John Burder, 16mm Film Cutting, Focul Press.
15. Thames & Hudson, Manual of Film Editing
16. Thomas Ohanin, Digital Non-Linear Editing How Approaches to Editing & Film -
Video.
17. Bethesda, Recommended Procedure for Motion Picture & Video Laboratory Services.
18. SMPTE, Control Technique in Film Processing
19. J. Dudley Andrew, The Major Film Theories: An Introduction
20. Edt. Richard Allen & Murray Smith, Film Theory and Philosophy
21. Gerald Mast, Marshall Cohen and Leo Braudy, Film Theory & Criticism

23
22. Edt. John Hill & Pamela Church Gibson Richard Dyer and E. Ann Kaplan, Film Studies:
Critical Approaches

References

1. Bartlett, On Location Recording Technique

2. Rumsey, Sound & Recording an Introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Ralph Evans, Eye, Film, and Camera in Color Photography
7. Michel Langford, Basic Photography
8. Johh Child, Studio Photography
9. Mark Galer, Location Photography
10. Michel Laugford, Starting Photography
11. James Monaco How to Read a Film
12. Rudolf Arnheim Film as Art
13. Sergei Eisenstein Film Form: Essays in Film Theory
14. Sergei Eisenstein The Film Sense
15. Edward Pincus & Steven Ascher, The Film Maker's Handbook, New American Library
16. James Monaco, How to Read a Film
17. Rudolf Arnheim Film as Art
18. Langford, Independent Film Maker's Manual
19. Richard H Kallenberger, Film Into Video
20. John Watkinson, The Art of Digital Video, 2ED
21. Anatol Rapoport, Conflict in Man Made Environment
22. JohnHill & Pamela Church Gibson, Film Studies: Critical Approaches
23. James Monaco, How to Read a Film
24. Stephenson & Delacrox, Art of the Film
25. Ernest Lindgren, Film As an Art

24
 Second year
Paper Code No. Subject Full Marks

VI FS316 Comp. Culture 100

VII FS 317 Comp. Sociology and Anthropology 100
VIII FS 318 Comp. Psychology 100
IX FS 319 Comp. Term paper 100
X FS 320 Specialization I 100

25
 Culture Heritage of Nepal
(Compulsory)
FS 316 Paper: VI
F.M. 100
P.M. 35
Tech. Hrs. 150

Objectives
Culture embraces life of a nation in totality in material, intellectual and spiritual forms. It thus
becomes imperative that a student of Nepali culture and heritage understand the basic elements
of present and past traditions. This will help them respect the heritage and tradition of our own
culture and civilization. This course also helps the students to acknowledge the ideas of
preservation of our heritage and traditions learns how to keep continue and presentation.

Unit I: Meaning and Definition of cultural heritage, World heritage concept,

Function of UNESCO, ICOMOS, World Heritage Sites of Nepal. (10)

Unit II: Archaeological Sites of Nepal

Historical Development of Archaeology in Nepal, Study of Excavated Sites: Lumbini,
kapilvastu, Handigaon and Dhumbarahi. Development of Museums in Nepal, Main
functions of museums in Nepal. (25)

Unit III: Sacred complex of Janakpur, Rurukshetra and Pashupati Nath (15)

Unit IV: Religions of Nepal

Hinduism – Saivism, Vaisnavism and Shaktism; Buddhism – Hinayana, Mahayana and
Vajrayan. (15)

Unit V: Art and Artitecture of Nepal

26
 Early Sculptures, Lichhavi Sculptures, and Medieval Sculptures – Terrcotta Art, Stone
Art, Wooden Art and Bronze Art; Chief features of Nepalese Art. (20)

Unit VI: Festivals in Nepal

Bisket jatra, Gaijatra, Teej, Janai Purnima, Dashain, Tihar,Siva Ratri, Ghode Jatra. (20)

Unit VI: Folk culture, folk Songs and Folk Religion of Nepal. (10)

Unit VII: Field Trips

The field trips are the most important portion of the course. The students will be visiting the
Hindu-Buddhist sites of Kathmandu Valley and thereby be made aware of the priceless heritage of
Nepal. On the whole the students will learn top appreciated the role played by the cultural and
heritage in making Kathmandu valley. The students have to write a report a minimum of 10 to 15
pages. The report carries 15 marks.

References
Amatya, Saphalaya, 1991, Art and Culture of Nepal, Nirala Publication, Jayapur, Delhi.
Anderson, Mary M., Festivals of Nepal
Bangel, Lain S., The Early Sculptures of Nepal
Banerjee, N.R., Nepalese Architecture. (Relevant Portions only)
Burnier, Ronald M., 1978, The Temples of Nepal
Chalise, Bijaya, 2039 B.S., Doteli Lok Samskriti ra Sahitya, Sajha Prakasahan, KTM.
Chalise, Ganesh Khatiwada, S., Hamro Dharma ra Samaj, BIratnagar
Chhetri, Ganesh and Rayamajhi, R., Nepal ko mutri Vigyana Kala ra Vastukala, Biratnagar.

27
 Visual Anthropology and Sociology
(Compulsory)

FS 317 F.M. 100

P.M. 35
Tech. Hrs. 150

Objectives

The main purpose of the course is to equip students with basic concepts methods and
perspectives of sociology and anthropology in general and visual anthropology in particular and
enable them to apply these concepts, methods and perspectives in their own society and culture.

I. Introduction
Definition, Nature and Scope of Sociology and Anthropology, major branches, their relation
with other social sciences such as history, archeology, Political Science, Economics,
Psychology, Major Differences between Sociology and Anthropology,

II. Primary Concept

Society, Culture, Social Structure, Institutions Norms, Values, Socialization, Caste/Class,
Ethnicity, Family, Kinship, Religion, Culture, Social and Culture Change, Various Concepts
and Characteristics of Culture, Cultural Continuity and Change, Role and Status.

III. Theoretical Approaches

Major theoretical approaches of Sociology and Anthropology; Evolutionism, Diffusionism,
Funtionalism, Structure – Functionism, Cultural Ecology, Symbolism, Globalization and
Postmordernism. Interactionism (Social Action) and Conflict theory.

IV. Visual Anthropology

Introduction, Scope of Visual Anthropology, The first Visual Anthropology, The first Visual
Archive, Function and Strategies of Ethnographic Film and Anthropological Resaerch,

28
 Description, Interpretation, How to Film? On the rules of Ethonographic Film, A reflection
on Praticipant “Cinema”. Three Notes of Method, Is Anthropology of the Cinema Possible?

V. Anthropology of the Cinema

Background, Context, Ethnographic and film, new Wave Films in India and Nepal, Typology
of Films, Selection of Films, Analysis of the Films, Film as Cultural Document, and a Source
of Drawers, Film as powerful Agency of change, Positive and Negative Sides of Films,
bridging peoples and their Culture with Films, The Three Criteria – Conformity to traditional
values: Norms and Standards, Neutrality and Justification.

VI. The Case Studies

The Case study of some Indian Films. The reflections on Visual Anthropological
Documentaries made by Nepalese Scholars, Using Film in Teaching Anthropology: One
Pedagogical Approach, Role of the cinema and Documentary for the development of
Tourism.

VII. Religion festivals of Nepal

Festivals of the sherpas – Losar, Dumje and Manirimdur, Festivals of Mustang – Yertong and
Tiji, Gosaikunda Mel, Indra jatra, Maghi and Hori Festivals of the Tharus, Chhath festval of
eastern terai.

VIII. Nepalese Society and Culture

Himalayan Society and Culture – Ecology, Economy, Society, Culture and Religion of the
people of Nepal Himalayan Region.

Hill Society and Culture – Ecology, Economy, Society, Culture of Mid and far Western Hill
region (Basically karnali region, mid hill region and eastern region.)

Terai Society and Culture – Ecology, Economy, Society and Culture of Eastern, Central and
Far- western terai.

Reading Books
Jha, Makhan, An Introduction to Cultural Anthropology.
Jha, Makhan, Social Anthropology
Ruby, jay, Visual Anthropology
Mead, Margared, 1975, “Visual Anthropology in a discipline of Worlds” in Paul Hockings
(ed), Principles of Visual Anthropology, Mauton Publishers, pp. 3-12.
John H. Weakland,1975, “Feature Films as Cultural Documents” in Paul Hockings (ed),
Principles of Visual Anthropology, Mouton Publishers, pp. 231-252.
Sahay, K.N., 1999, a. Visual Anthropology and Indian Fiction Films

29
 Term Paper
(Compulsory)
FS 319 Paper: IX
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 100

Objective

This course is designed to familiarize the students with the basic knowledge of Film involving
the students in writing a paper. After the completion of the paper the students will be able to
undertake a project in the respective areas.

Each Student will be given the topics in which he/she will be supposed write a term paper as
fixed by the Instruction committee.

This paper is divided into two components:

i) Class lecture 20%

ii) Study report 80%

The examination pattern will be decided any the subject Committee.

30
 Specialization – 1 (Motion Picture Photography)
Introduction to cinematography

FS 320 MPP Paper: X

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective

The objective of this course is to give the necessary and basic exposure to the handling of camera and the
techniques involved in composition and light adjustments.

Unit Tech Hrs.

1. Start learning with still camera in black and white photography. 5
2. 59
a) Introduction and history of cinematography
b) Information about movie films (Stock), General information about photographic
film, type of film, emulsion of film, sensitivity of film.
c) Introduction of lights.
Brief information of lights.
Day light, flash light, incident light
d) Lighting that is
 Highkey, lowkey etc.
 Outdoor and indoor lighting (basic)
e) Lenses & Filters (Use in B/W, Colour film & their Applications.
Basic information of filters used in camera in B/W film and their applications.
f) Learning about Camera
g) Brief information about lenses
 Normal lens, wide lens, tele lens, zoom lens and super wide lens (fish eye lens.)
 Lens mechanism

31
h) Colour temperature and Intensity of lights.
i) Relationship between camera and sound.

3. Videography
a) Video Signals
b) Video Formats
c) Frame Rates
d) Exposer measurements
e) Video Cameras
f) Digital & Analogue Videos
g) White Balance – Colour temperature in Videography
h) Television Standards PAL/NTSC/SSECAM
i) Aspect rations
j) Brightness Range
k) Lighting for Videos

Practical 80

a) Demonstration of all kinds of still cameras to the students

b) Learning the camera
 How to handle
 Framing with camera
 Focusing
 Exposure reading with exposure meter
 Lighting – daylight, incident lights and flash light
 Processing exposed negative B/W in tank
 Printing exposed negative to paper in Dark – Room B/W enlarger
 Chemical preparation for B/W
 Demonstration of exposed picture to all the students

c) Practical – Continuity exercise shooting by direction students Video/Celluloid

Text Books

1. John Marcel, An introduction to cinematography, Isbn: 0-87563-168-1.

2. Happe, Basic Motion Picture Technology
3. Russul Cambell, Photographic Theory For Motion Picture Cameraman
4. Blain Brown, Cinematography: Image Making for Cinematographer, Director,
Videographer.
5. M.T. Langford, Advance Photography
6. Gerald Milles son, Video-Camera Techniques
7. Raymond Fielding, Technique of Special Effects Cinematography

References

1. Label & Bubois, Basic Sensitometry

2. Hart, The Camera Assistant: A Complete proof
3. Malan Harder, The Manual of Photography
4. Denning, Dictionary of Image Technology

32
 Specialization – 2 (Motion Picture Photography)
Motion Picture Camera and lenses

FS 321 MPP Paper: XI

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective
The objective of this course is to give students basic exposure to the principles and techniques of
videography, and the history and developments in its techniques.

Unit Tech Hrs.

I Introduction of a movie camera and its characteristics 8

a. Component of movie camera
b. Function of movie camera and its components
c. History of the cinematography
d. Format of movie camera

II Brief information about exposure meter 5

III Brief information about movie film 8
a. Emulsion
b. B/W and color
c. Transparency
d. Perforation
e. Gauge of film
f. Type of films and their characteristics
g. Exposing of the film
h. Latent image formation

33
IV Brief information about movie lights 5
a. Types of light
b. Electric light, battery light, Halogen light, Daylight, HMI light, Arc light,
house lights, etc.
c. Characteristic of light

V Importance of cinematography 5
VI Principles of videography and information about VHS, UMATIC, BETA and
digital cameras. 5
VII Brief information about use of lens and type of lens used in movie camera. 5
VIII Brief information about exposing film, information about exposure. (T-shop and
F-shop, reflection and refraction of light, Focusing – learning about depth of field
and depth of focusing) 5
IX Basic information about Filter used in Camera 7
a. Use of filters in B/W photography
b. Use of filters in color photography
c. Information about filter factor
d. Conversion filters for color photography
X Information about the processing of exposed film 5
XI Short Information About preparation for Shooting 5
a. Choosing and checking a camera
b. Selection and checking of lenses
c. Selection of film
d. Other accessories

XII Preparation of camera unit and their specific job 5

XIII Information about different type of lighting control and its characteristics, metering
system, relationship to emulsion of film. Film speed and relationship to aperture and
shutter speed of aperture and shutter speed of camera, shutter angle and movement
of camera shutter 7
XIV Information about video/television technology 5

Practical

1. Demonstration of movie camera

2. Handling of movie film
(Loading and removing film from the camera magazine)
3. Lens mounting in camera
4. Film magazine threading in camera.
5. Proper mounting the camera in tripod.
6. Learning about the panning, tilting, zooming, setting aperture to lens, short demonstration about
camera components.
7. Trolley movement and crane movement.
8. Practical use of lighting system, diffused lighting system, directs lighting system, incident
lighting concealed with other light in outdoor.
9. Practice all the student of same above with dummy 16mm equipment and film stock.
10. Demonstration of dummy processed negative and its print to all the students.

Text Books

8. John Marcel, An introduction to cinematography, Isbn: 0-87563-168-1.

9. Happe, Basic Motion Picture Technology
10. Russul Cambell, Photographic Theory For Motion Picture Cameraman

34
 11. Blain Brown, Cinematography: Image Making for Cinematographer, Director,
Videographer.
12. M.T. Langford, Advance Photography
13. Gerald Milles son, Video-Camera Techniques
14. Raymond Fielding, Technique of Special Effects Cinematography
15. Joshep V. Mascelli, June 1998, The five “C” of Cinematography
16. Epencer, Color Photography
17. A.S.C. , American Cinematography Manual

Reference:

1. John Alton, Panting with Light

2. Charles B. Clarks (ASC), Professional Cinematography
3. Brown, Motion Picture & Video Lighting
4. Gerald Millesson, The technique of Lighting for Television & Motion Picture
5. Davies, Digital Imaging for Photograph
6. Edge, The Underwater Photographer,2ED
7. Kalleuberger, Film in to Video

Specialization – 3 (Motion Picture Photography)

Visual Composition and its Different Approaches

FS 322 MPP `Paper: XII

Full Marks: 100
Pass Marks: 35

Tech. Hrs. 160

Theo. 80+ Pract. 80
Objective

The objective of this course is to familiarize the students with detailed function of movie camera and the
principles of cinema story and screenplay.

Unit Tech Hrs.

I) Learning about Camera 5

II) More understanding about cinematography. 5
III) Learning about composition in different condition and different subjects 5
IV) Learning detailed function of movie camera 5
V) Learning about movie camera lenses and its importance. 5
VI) Learning detailed about motion picture film, more about emulsion, exposure and
processing chemicals. 5
VII) Clarifying about light lighting play with different mood and lighting concept.
5
VIII) Understanding about cinema story and screenplay. 5
IX) Composition with felling of story script 5
X) Learning about lighting state 5
a. Day Light, contrast light
b. Low key lighting
c. High key lighting
d. Lighting continuity
e. Outdoor and Indoor lighting

35
 f. Importance of lighting continuity in cinema
g. Low contrasts bounce lighting.
h. Dramatic lighting.
i. Lighting effects in special conditions.
XI) Outdoor lighting, Reflector lights, skimmer light, bouncing light 5
XII) Learning about color temperature of lighting devices.
5
XIII) Learning about light filters and color filters 5
XIV) Learning about video technology, videography, and computer system 5
XV) Learning about Tele-Cine and Cine – Tele system
5
XVI) Learning about computer application of cinematography 5

Practical 80

1. Demonstration about different type of lights and their characteristics

2. Importance of electricity.
3. Exposure to different lighting condition
4. Outdoor lighting and learning about reflection and skimmer.
5. Practical with camera in studio with artificial lighting make up and
synchronization of sound with camera.
6. Visit to film laboratories for demonstration.

Text Books

1. John Marcel, An introduction to cinematography, Isbn: 0-87563-168-1.

2. Happe, Basic Motion Picture Technology
3. Russul Cambell, Photographic Theory For Motion Picture Cameraman
4. Blain Brown, Cinematography: Image Making for Cinematographer, Director,
Videographer.
5. M.T. Langford, Advance Photography
6. Gerald Milles son, Video-Camera Techniques
7. Raymond Fielding, Technique of Special Effects Cinematography
8. Joshep V. Mascelli, June 1998, The five “C” of Cinematography
9. Epencer, Color Photography
10. A.S.C. , American Cinematography Manual

Reference:

1. John Alton, Painting with Light

2. Charles B. Clarks (ASC), Professional Cinematography
3. Brown, Motion Picture & Video Lighting
4. Gerald Millesson, The technique of Lighting for Television & Motion Picture
5. Davies, Digital Imaging for Photograph
6. Edge, The Underwater Photographer,2ED
7. Kalleuberger, Film in to Video

36
 Specialization- 4 (Motion Picture Photography)
Principles of lighting
FS 323 MPP
Paper: XII
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80
Objective
The objective of this course is to introduce still more advanced techniques of cinematography.

Unit Tech.Hrs
I learn more detail about cinematography. 5
II Technique of cinematography 15
a. Fade, Dissolve, Superimpose
b. Traveling mat
c. Detailed definition about close up, longs shots, extreme long shots, extreme
close sweep pan and special types of shots used in movie camera.

III Detailed about use of special equipments in cinema 5

IV Detailed description about use of shots in cinema 5
V Arranging sequences as a cinema 5
VI Learning about dramatic lighting as per demand of the scenes 5
VII Detailed information about different camera format and its significance 5
VIII Detailed information about projection 5
IX Deatiled concept of planning shooting with students of direction Dept. 5
X Workshop with professional cinema (Guest lectures) 5
XI Workshop with professional techniques of video and computer graphics 5
XII Learning about synchronization of sound with experienced sound technicians 5
XIII Theoretical inputs of video camera and recording technique with different formats.10

Practical 80
1. Practice shooting with movie camera and video camera
2. Practice lighting details indoor and outdoor.

37
3. Shoot documentary workshop and expose
4. Practice shooting with co-ordination with Director and unit members
5. Learning more about processing exposed film in lab.

Text Books
1. John Marcel, An introduction to cinematography, Isbn: 0-87563-168-1.
2. Happe, Basic Motion Picture Technology
3. Russul Cambell, Photographic Theory For Motion Picture Cameraman
4. Blain Brown, Cinematography: Image Making for Cinematographer, Director,
Videographer.
5. M.T. Langford, Advance Photography
6. Gerald Milles son, Video-Camera Techniques
7. Raymond Fielding, Technique of Special Effects Cinematography
8. Joshep V. Mascelli, June 1998, The five “C” of Cinematography
9. Epencer, Color Photography
10. A.S.C. , American Cinematography Manual

Reference:
1. John Alton, Painting with Light
2. Charles B. Clarks (ASC), Professional Cinematography
3. Brown, Motion Picture & Video Lighting
4. Gerald Millesson, The technique of Lighting for Television & Motion Picture
5. Davies, Digital Imaging for Photograph
6. Edge, The Underwater Photographer,2ED
7. Kalleuberger, Film in to Video

38
 Specialization- 5 (Motion Picture Photography)
Laboratory process of production, Post-production and Modern development in
cinematography

FS 324 MPP Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective
The objective of this course is to familiarize with the professional cine techniques and the miniature work
in studio.

Unit Tech.Hrs.

I Lab. Process: - Processing Printing, Densitometry, Sensitometer 10

II Special classes of professional cine techniques. 10
III Detailed information about optical works in cinema and its significance 10
a. Traveling matt.
b. Back Projection
c. Front projection
IV Special classes about planning to several cameras for aerial shooting and underwater
Shooting. 10
V Special classes for understanding the relationship of sound and camera (Synchronization, pilot
control synchronizing, crystal control synchronizing) 10
VI Special class for detailed planning to make documentary film and add film, etc 10
VII Special classes for television cinematography and broadcasting. 10
VIII Special classes for advanced technology of cinematography and making of
Cinema 10

Practical 80
1. Workshop showing cinema, documentaries, advertisement film, feature film, etc
2. Practical classes in studio, outdoor and tele-strudio with camera set up

39
3. Practical shooting with different set up cameras with related technicians and equipments.

Text Books

1. John Marcel, An introduction to cinematography, Isbn: 0-87563-168-1.

2. Happe, Basic Motion Picture Technology
3. Russul Cambell, Photographic Theory For Motion Picture Cameraman
4. Blain Brown, Cinematography: Image Making for Cinematographer, Director,
Videographer.
5. M.T. Langford, Advance Photography
6. Gerald Milles son, Video-Camera Techniques
7. Raymond Fielding, Technique of Special Effects Cinematography
8. Joshep V. Mascelli, June 1998, The five “C” of Cinematography
9. Epencer, Color Photography
10. A.S.C. , American Cinematography Manual

Reference:
1. John Alton, Painting with Light
2. Charles B. Clarks (ASC), Professional Cinematography
3. Brown, Motion Picture & Video Lighting
4. Gerald Millesson, The technique of Lighting for Television & Motion Picture
5. Davies, Digital Imaging for Photograph
6. Edge, The Underwater Photographer,2ED
7. Kalleuberger, Film in to Video

40
 Specialization - 1 (Direction)
Conceptualizations of Film as an Art

FS.320. Dir. Paper: X

Full Marks: 100
Pass Marks: 35
Tech.Hrs. 160
Theo. 80+Pract. 80
Objective

The objective of this course is to familiarise students with the artistic dimension of film, and to look at
acting and performance as an art form from the perspective of a director, and also to enable students to
direct the film as a form of art.

Unit Tech.Hrs.

I Conceptualisation and Development 15

Stages of Writing

i) Idea
ii) Research
iii) Synopsis/Outline
iv) Screenplay
v) Shooting Script

II The Parameters of Story Design 15

a) Causality/Choice
b) Consistency/Surprise
c) Image/Sound
d) Character/Object
e) Simplicity/Depth

41
III Story Structure 15

a) Structure and Setting

b) Structure and Genre
c) Structure and Character
d) Structure and Meaning

IV The Story 35

a) Characterisation

i) Character, Characteristic, Stereotype

ii) Occupation (Position)
iii) Relation to other People
iv) Individual Character

b) The Storyline (The Movement Forward): Part I

ii) Understandability, Probability, Identification

iii) Movement/Motion/Action
iv) Conflict
v) Motivation
vi) Anticipation,
vii) Suspense
viii) Climax

c) Narrative Form

i) Involved vs. Uninvolved: 1st person/3rd person

ii) Active vs. Passive: Opinion vs. Documentation
iii) Commentary vs. VOX POP

d) Genre

i) Relationship between Structure and Genre

ii) Mixing Genres
iii) Reinventing Genres

Practicals 80

Visual script for Direction practical digital still project.

Visualisation Workshop.

Text Books

1. Robert McKee, Story

2. James Monaco, How to Read a Film
3. The Art of Adaptation
4. Directing Shot by Shot
5. Judith Weston, Directing Actors
6. Rudolph Arnheim, Art and Visual Perception
7. Susanne K. Langer, Feeling and Form

42
8. Lojos Egri, Art Visual Perciption
9. R.H. Tonney, Acouisive Society theory
10. John Gasner, Direction's in Modern Theatre & Drama
11. Steven D. Kelg, Film Directing - "Shot by Shot"
12. Lojos Egri, Art of Dramatic Writing
13. Sergie Eisentcin, Film Form and Film Sense
14. Vladimir Nilsen, Cinema as a Graphic Art
15. Sergi Eisentein, Notes of a Film Director
16. Don Livingston, Film and the Director

References

1. Rabiger, Directing Film Technique & Aesthetics

2. Lee R. Bobker, Elements of Film
3. Joseph Gelmis, Film Director as Superstar
4. Don Livingston, Film and the Director
5. David Dickson, Alternative Technology and Politics of Social Change
6. Susanne K. Lang, Feeling and Form
7. Edward Pincus & Steven Ascher, Film Maker's Handbook
8. Harry Geduld, Film Maleers on Film Making
9. James Moneco, How to Read a Film
10. Hudson, Introduction to the Study of Literature
11. Bruce Brown, Marx Frend and Critique of Everyday Life
12. Eric Barnouw, Documentary
13. Stephenson & Delacroix, Art of the Film
14. Paulo Fraire, Cultural Action for Freedom

43
 Specialization - 2 (Direction)
Story Analysis

FS 321 Dir. Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective

The objective of this course is to create the awareness about the different genres of narratives and to
create melanges of these various genre, and above all create a skill and awareness in the students to be
able to direct the film by mixing the various genres familiarize.

Unit Tech.Hrs
Theory Practical
I Principles of Narrative Construction 16 16

 The stage of Being

a. The Undisturbed
b. The disturbance
c. The struggle
d. The adjustment

II The parameters of story design 16 16

a. Causality/choice
b. Consistency/Surprise
c. Image/Sound
d. Character/Object
e. Simplicity/Depth

44
III The Principles of story design 16 16
 The Substance of Story
a. The Inciting Incident
b. Act Design
c. Scene design
d. Scene Design
e. Composition
f. Crisis, Climax, Resolution

IV Narrative Form 16 16
Involved vs. Uninvolved: 1st Person/3rd Person
Active vs. Passive: Option vs. Documentation
Commentary vs. VOX POP

V Genre
Relationship between Structure and Genre
Mixing Genres
Reinventing Genres

All the above units require both theory and practical classes.

Text Books
1. Robert McKee, Story
2. James Monaco, How to Read a Film
3. The Art of Adaptation
4. Directing Shot by Shot
5. Jidith Weston, Directing Actors
6. Rudolph Arnheim, Art and Visual Perception
7. Sysanne K. Langer, Feeling and Form
8. Lojos Egri, Art Visual Perciption
9. R.H. Tonney, Acouisive Society theory
10. John Gasner, Director's in Modern Theatre & Drama
11. Steven D. Kelg, Film Directing - "Shot by Shot
12. Lojos Egri, Art of Dramatic Writing
13. Sergie Eisentein,Film form and film sense
14. Vladimir Nilsen, Cinema as a Graphic Art
15. Sergie Eisenstein, Notes of a film director
16. Don Livingston, Film and the Director

References
1. Rabiger, Directing Film Techniques & Aesthetics
2. Lee R. Bobker, Elements of film
3. Joshep Gelmis, Film Director as Superstar
4. Don Livingston, Film and the director'
5. David Dickson, Alternative Technology and politics of Social Change
6. Susanne K. Lang, Feeling and Form
7. Edward Pincus & Steven Ascher, Film Maker’s Handbook
8. Harry Geduld, Film Maleers on Film Making
9. James Moneco, How to read a film
10. Hudson, Introduction to the Study of Literature
11. Bruce Brown, Marx Frend and Critique of Everyday Life
12. Eric Barnouw, Documentry
13. Stephenson & Delacroix, Art of the film

45
 14. Paulo Fraire, Cultural Action for Freedom

Specialization - 3 (Direction)
Techniques of screen writing
FS 322 Dir. Paper: XII
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective

The objective of this course is to teach the student the various techniques of screen writing from the point
of view of a director.

Unit Tech.Hrs
Theory Practical
I) The Structure Spectrum 15 15
a. Structure and setting
b. Structure and Genre
c. Structure and Character
d. Structure and Meaning

II) Elements of Story Design 20 20

a. Characterization
i. Character, Characteristic, Stereotype
ii. Occupation (Position)
iii. Relation to other People
iv. Individual Character

b. The storyline (The Movement Forward)

i. Understandability
ii. Probability
iii. Identification

46
 iv. Anticipation
v. Suspense

III) The Dramatic Curve 45 45

a. The Beginning
i. The Opening
ii. The Punch
iii. The Peaceful State
iv. The Deepening
v. The Planning

b. The Middle
i. The Beginning of Conflict
ii. The Development of Conflict
iii. The Crisis

c. The End
i. The Climax
ii. The Resolution
iii. Catharsis
All the Above units requires both theory and practical classes

Text Books
1. Robert McKee, Story
2. James Monaco, How to Read a Film
3. The Art of Adaptation
4. Directing Shot by Shot
5. Jidith Weston, Directing Actors
6. Rudolph Arnheim, Art and Visual Perception
7. Sysanne K. Langer, Feeling and Form
8. Lojos Egri, Art Visual Perciption
9. R.H. Tonney, Acouisive Society theory
10. John Gasner, Director's in Modern Theatre & Drama
11. Steven D. Kelg, Film Directing - "Shot by Shot
12. Lojos Egri, Art of Dramatic Writing
13. Sergie Eisentein,Film form and film sense
14. Vladimir Nilsen, Cinema as a Graphic Art
15. Sergie Eisenstein, Notes of a film director
16. Don Livingston, Film and the Director

References
1. Rabiger, Directing Film Techniques & Aesthetics
2. Lee R. Bobker, Elements of film
3. Joshep Gelmis, Film Director as Superstar
4. Don Livingston, Film and the director'
5. David Dickson, Alternative Technology and politics of Social Change
6. Susanne K. Lang, Feeling and Form
7. Edward Pincus & Steven Ascher, Film Maker’s Handbook
8. Harry Geduld, Film Maleers on Film Making
9. James Moneco, How to read a film

47
 10. Hudson, Introduction to the Study of Literature
11. Bruce Brown, Marx Frend and Critique of Everyday Life
12. Eric Barnouw, Documentry
13. Stephenson & Delacroix, Art of the film
14. Paulo Fraire, Cultural Action for Freedom

Specialization - 4 (Direction)
Art of Adaptation
FS 323 Dir Paper: XII
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective

The objective of this course is to teach the student the various techniques of adaptations across the
functional and non functional forms to familiarize the met language of the film.

Unit Tech.Hrs
Theory Practical
I) Adaptation
a. Fact to Fiction
b. Non- Fiction to Film
c. Fiction Book to Film
d. Theatre to Film

II) The language of film

a. Space
b. Time
c. Picture
d. Sound

III) Film Vocabulary

a. Conventions
b. Enlargement and Composition
c. Aspect Ratio
d. Camera Elements

48
IV) Genre
a. Film Genres
b. Relationship between Structure and Genre
c. Mixing Genres
d. Reinventing Genres

V) Continuity
a. Action/Performance
b. Light
c. Environment
d. Physical
e. Spatial
f. Time
g. Event
h. Attention
i. Audio
j. Dialogue

All the above units requires both theory and practical classes

Text Books
1. Robert McKee, Story
2. James Monaco, How to Read a Film
3. The Art of Adaptation
4. Directing Shot by Shot
5. Jidith Weston, Directing Actors
6. Rudolph Arnheim, Art and Visual Perception
7. Sysanne K. Langer, Feeling and Form
8. Lojos Egri, Art Visual Perciption
9. R.H. Tonney, Acouisive Society theory
10. John Gasner, Director's in Modern Theatre & Drama
11. Steven D. Kelg, Film Directing - "Shot by Shot
12. Lojos Egri, Art of Dramatic Writing
13. Sergie Eisentein,Film form and film sense
14. Vladimir Nilsen, Cinema as a Graphic Art
15. Sergie Eisenstein, Notes of a film director
16. Don Livingston, Film and the Director

References
1. Rabiger, Directing Film Techniques & Aesthetics
2. Lee R. Bobker, Elements of film
3. Joshep Gelmis, Film Director as Superstar
4. Don Livingston, Film and the director'
5. David Dickson, Alternative Technology and politics of Social Change
6. Susanne K. Lang, Feeling and Form
7. Edward Pincus & Steven Ascher, Film Maker’s Handbook
8. Harry Geduld, Film Maleers on Film Making
9. James Moneco, How to read a film

49
 10. Hudson, Introduction to the Study of Literature
11. Bruce Brown, Marx Frend and Critique of Everyday Life
12. Eric Barnouw, Documentry
13. Stephenson & Delacroix, Art of the film
14. Paulo Fraire, Cultural Action for Freedom

Specialization - 5 (Direction)
Directing Shot by Shot and Directing Actors

FS 324 Dir Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective

The objective of this course is to enable students to select themes and forms and to work with the
practical skills of production with them.

The objective of this course is to make students familiar with the recourses of the students, modes of
rehearsals and results direction.

Unit Tech.Hrs
Theory Practical
I) Research 10 10
a. Researching the story
b. Selection of the form: Documentary/Docu-Drama/Feature
c. Selection of Medium: Audio/Radio or TV/ Video
d. Selection of format: Amateur/ Semi-Pro or Professional
e. Budget
f. Recce
g. Selection of crew
h. Casting
i. Writing the script
j. The Storyboard

II) Visualization 5 5

50
 Articulating Time and Space in Film Production
a. The Key concepts of film articulation: Continuity, Depth,
Centering
b. Development of modes of representation: the 30s and 40s
and 60s, 70s, 80s, 90s and 2000.

III) Production Design 5 5

a. The director’s Role in Storyboarding
b. Schedules
c. Skills Required by Storyboard Artists
d. Reference and Research
e. Style
f. Materials
g. Illustrating Camera techniques
h. Illustrating Camera Movement
i. Visualization Tools and Techniques

IV) Production Illustration 10 10

a. Concept and Final Design Illustrations
b. Architecture drawings
c. Plans, Sections and elevation
d. Projections
e. Models
f. Continuity Sketches and Storyboards
g. Memory and Research
h. Connections
i. Sound and music
j. Making a Visual Sketchbook

V) Picture Composition and Movement 10 10

a. Shot sizes and their effects
b. Composing by design, by arrangement or by selection
c. Zoom function
d. Camera Movement
e. Framing
f. Proportion
g. Pictorial Balance
h. Scale
i. Subject: Prominence, Attitude, Point of Interest

VI) Lighting 5 5
a. The Nature of Light
i. Light Intensity
ii. Color Temperature
iii. Light Dispersion
iv. Types of Lights
v. Lighting Techniques
vi. The Aims of Lighting

VII) Actors’ Recourses and Training 5 5

a. Memory ( Personal Experience)
b. Observation
c. Imagine Experience
d. Sensory Life

51
 e. Feelings
f. Stage Acting vs. film and Television Acting

VIII) Casting and Rehearsals 5 5

a. Rehearsal Plan
b. Scene Rehearsals
c. Rehearsal Guidelines
d. Improvisation
e. Blocking
f. Resistance

IX) Result Direction and Quick Fixes 5 5

a. Examples of Result Direction

b. Adjectives
c. Verbs
d. Facts
e. Image
f. Events
g. Physical Tasks
h. Questions

X) Movement by Moment 5 5
a. Fear and control
b. Risk
c. Honesty
d. Moment by moment
e. Idiosyncrasy
f. Freedom
g. Concentration

XI) Listening and Talking and Actors’ Choices 5 5

a. Questions
b. Oppositions
c. Judgment
d. Need
e. Adjustments

XII) Shooting 10 10

All the above units requires both theoretical and practical classes

Screen Writing and Directing Practical

Practical (I): Class Room Practical

Analysis shots for their audio and visual components
Use of digital video camera and simple editing setup in execution of various short projects.

Practical (II): On Location internship

The writing and directing students will be assigned to on going feature film productions in the capacity of
Assistant Directors. The students will assist the Directors of the films with:

Pre-Production
1. Writing the Screenplay

52
 2. Writing the Shooting Script
3. Making the Storyboard
4. Making the Shooting Plan
5. Making the Shooting Schedule
6. Making the Continuity Sheets
7. Managing the music recording
8. Managing the contracts with the Artists
9. Managing the Rehearsals
10. Doing the research and Recce
11. Managing all aspects of Pre- production logistics

Production
1. Maintaining the Log Sheet
2. Managing the continuity elements
3. managing the Actors
4. Managing the crew
5. Managing all Aspects of Production Logistics

Post- Production

1. Tabulating the Log Sheet

2. Monitoring the Lab Process
3. Doing the Pre-edit
4. Assisting during the Editing
5. Making the Schedule of Dubbing
6. Managing the Dubbing
7. Managing the Aspects of Pre-Production logistics

The Students will be graded according to their performance in the field by the directors they have
been assigned with.

Text Books
1. Robert McKee, Story
2. James Monaco, How to Read a Film
3. The Art of Adaptation
4. Directing Shot by Shot
5. Jidith Weston, Directing Actors
6. Rudolph Arnheim, Art and Visual Perception
7. Sysanne K. Langer, Feeling and Form
8. Lojos Egri, Art Visual Perciption
9. R.H. Tonney, Acouisive Society theory
10. John Gasner, Director's in Modern Theatre & Drama
11. Steven D. Kelg, Film Directing - "Shot by Shot
12. Lojos Egri, Art of Dramatic Writing
13. Sergie Eisentein,Film form and film sense
14. Vladimir Nilsen, Cinema as a Graphic Art
15. Sergie Eisenstein, Notes of a film director
16. Don Livingston, Film and the Director

References
1. Rabiger, Directing Film Techniques & Aesthetics
2. Lee R. Bobker, Elements of film
3. Joshep Gelmis, Film Director as Superstar

53
 4. Don Livingston, Film and the director'
5. David Dickson, Alternative Technology and politics of Social Change
6. Susanne K. Lang, Feeling and Form
7. Edward Pincus & Steven Ascher, Film Maker’s Handbook
8. Harry Geduld, Film Maleers on Film Making
9. James Moneco, How to read a film
10. Hudson, Introduction to the Study of Literature
11. Bruce Brown, Marx Frend and Critique of Everyday Life
12. Eric Barnouw, Documentry
13. Stephenson & Delacroix, Art of the film
14. Paulo Fraire, Cultural Action for Freedom

Specialization – 1 (Acting)
Introduction to performing Art

FS 320 Act Paper: X

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective

The objective of this course is to familiarize the students with the traditions of performing art, with
emphasis on acting both east and the West and to show how acting can be linked from theatre to cinema.

Unit Tech Hrs.

I) Origin of Acting 10
a) Primitive age
b) Sheltering/Hunting/Enigmatic fear/Rituals and imitation of life.
c) Acting as a way of life

II) Greek period 10

a) Rituals and chanting
b) Beginning of single actor presentation.
c) From one actor to multiple actors

III) Mediaval theatre 10

a) Morality play and Acting
b) Shakespearean acting
c) Comedeandell Acting

54
IV) Eastern Traditions of Acting 12
a) Bharatmuni's Dramatics
b) Sanskrit play and Acting Drama
c) Oral tradition (Story telling and Folk form)

V) Modern concept about Acting

a) Emergence of realism
b) Dyanamics of Actor

VI) Acting method by Konstontion Stanislavasky/ Richard Voslovaky 5

VII) Film Acting theory by Podovkin 5
VIII) Acting Style in different period and genera 20
a) Primitive Cinema
b) Comedy of Charlie Chaplin Buste Keaton
c) Melodrama acting in Cinema
d) German Expressionist Acting
e) Realistic Acting
f) Antirealistic or stylized Acting

Practical
A. Screening of film and Classrooms discussion
a. Neo- Realistist movement and Movies by ' Vitrorio Desica' Micheal Angelo Antonioni, jean
Renuior, Fedricofellilin, Akira Kurosawa, Satyajit Ray.
b. Sur – realist film by luis bunnell, Ingmar bergamn
c. Western movies
d. Hollywood's best film
e. New wave cinema of the world
f. parallel VS commercial cinema of Bollywood
g. East South Asian Movies

B. Acting games
Sensitize the senses
a. Voice and speech
b. Movement
c. Diction

C. Acting exercise
a. Imagination
b. Belief in truth
c. Observation
d. Inner and Outer Action
e. Given circumstances
f. Magic if
g. Concentration
h. Analysis of text and subtext

D. Facing Camera and gain knowledge about shot, frame and other's technicality of movie acting.
E. Continuity exercise.

Text Books
1. V.I. Pudrrlin, Film Technique and Film Acting
2. Loyos Egri, Art of Dramatic Writing
3. Richard Boleslavsky, Acting: The First Six Lessons

55
4. John Gasner, Direction's in Modern Theatre and Drama

References
1. Easnest Lindgrea, Film as an Art
2. Vladrinir Nilsen , Cinema as a Graphic Art
3. Jyoti Sarup, Fuie Art of Acting - Film, Television, Drama & Real Life
4. Rustom Bharucha, The Polities of Culture in a Age of Globalisation
5. Bruce Brown, Marx Frend & Critique of Everyday Life
6. Anatol Reppopert, Conflict in Men-Made Environment
7. Rudolf Arnhein, Art and Visual Perciption
8 Jarek Kupsc, The History of Cinema for Beginners
9 Judith Weston, Directing Actors
10 Stanislavasky, An Actor Prepared
11 Stanislavasky Creating a Role
12 Stanislavasky, Building a Character
13 Richard Boslovosky, My First six Lesson
14 Clive Barker, Theatre Games
15 Eric Morris and Joan Hotchkis, No Acting Please
16 Lamerence Olevear, Autobiography
17 Cicly Berry, Voice and the Actor
18 Michal Caine, Acting in Film

Specialization-2 (Acting)
Body and Movement

FS 321 Act Paper: XII

Full Marks: 100
Pass Marks: 35
Tech.
Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to make the students aware of the body as the centre of all the dynamics of acting and
to familiarize with the modes and methods of using body for acting.

Unit Tech.Hrs.
Theo. Pract.
I) Creating an awareness of the Actor’s Body and Movement 8 8
II) Correcting the posture and Neutralization of Body 8 8
III) Building the ability of Dance, Fight, Drive and Jump with Ease 8 8
IV) Making Body, Feet Strong and Flexible 8 8
V) Control, Balance and Flexibility of muscles 8 8
VI) Yoga 8 8
VII) Modern Movement/Classical Movement 8 8
VIII) Relaxation/ Release of muscular Tension 8 8
IX) Working on Rhythm, Gesture, Acrobatics, Gymnastic, fencing etc 8 8
X) Improvisation and Acting games 8 8

Each unit required both theory and practical classes

Texts Books
1. V.I Pudrrlin, Film Techniques and Film Acting
2. Loyos Egri, Art of dynamic Writing
3. Richard Boleslavsky, Acting: The First Six Lessons
4. John Gasner, Direction’s in Modern Theatre and Drama

56
References

1. Easnest Lindgrea, Film as an Art

2. Vladrinir Nilsen, Cinema as a graphic Art
3. jyoti Sarup, Fluie Art of Acting – Film, Television, Drama & Real Life
4. Rustom Bharucha, The Polities of culture in a Age of Globalization
5. Bruce Brown, Marx Frend & Critique of Everyday life
6. Anatol Reppopert, Conflict in men made Environment
7. Rudolf Arnhein, Art and Visual perception

Specialization-3 (Acting)
Speech and Voice

FS 322 Act. Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to familiarize students with the nature and power of speech in acting and to give them
basic exposure to the means and methods of producing speech and making them effective from the point of view of
performance in cinema.

Unit Tech.Hrs.
Theo. Pract.
I) Mechanism and Function of voice 20 20

a. Projection
b. Modulation
c. Variation
d. Pause
e. Phrasing/Phonation/Articulation

II) Breathing Exercise for Speech and Vocalization 10 10

a. Rhythm of Respiration
b. Controlled Breathing

III) Elements of Speech 10 10

a. Volume
b. Pitch
c. Tempo
d. Rhythm

57
 e. Timber

IV) Playing with Vowel and Constant sounds 10 10

V) Use of Resonator for Good and Strong Voice 10 10
VI) Diction/Pronunciation 10 10
VII)Reading Poems, Stories, plays and Chatting, Singing, Rhyming 10 10

Each unit required both theory and practical classes

Texts Books
1. V.I Pudrrlin, Film Techniques and Film Acting
2. Loyos Egri, Art of dynamic Writing
3. Richard Boleslavsky, Acting: The First Six Lessons
4. John Gasner, Direction’s in Modern Theatre and Drama

References

1. Easnest Lindgrea, Film as an Art

2. Vladrinir Nilsen, Cinema as a graphic Art
3. jyoti Sarup, Fluie Art of Acting – Film, Television, Drama & Real Life
4. Rustom Bharucha, The Polities of culture in a Age of Globalization
5. Bruce Brown, Marx Frend & Critique of Everyday life
6. Anatol Reppopert, Conflict in men made Environment
7. Rudolf Arnhein, Art and Visual perception
Specialization-4 (Acting)
Building a Character

FS 323 Act. Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to familiarize students with the recognition and the functionalism of characters and
their various traits in the process of acting and performance.

Unit Tech.Hrs.
Theo. Pract.
I)
a. What is Cinematic Character? 10 10
b. Kind of Character Role 20 20
i. Extra-ordinary character
ii. Exceptional character
iii. Prototypical Character
- Traditional Characters example
- Modern Characters example

II) Characters with Dominant Trait 10 10

III) Minor Characters 10 10
IV) Non Human Characters 10 10
V) How to Build a Characters 20 20
a. Go through whole script and try to find out the writers point of view about characters.
b. Observation:
- Body Language
- Idiosyncrasies
- Mannerism
c. Imagination

58
 d. 5 wh Question

Each unit required both theory and practical classes

Text Books
1. V.I. Pudrrlin, Film Techniques and Film Acting
2. Loyos Eegri, Art of Dramatic writing
3. Richard Boleslavsky, Acting: The First Six Lessons
4. John Gaser, Direction’s in modern Theatre and Drama

References

1. Easnest Lindgrea, Film as an Art

2. Vladrinir Nilsen, Cinema as a graphic Art
3. jyoti Sarup, Fluie Art of Acting – Film, Television, Drama & Real Life
4. Rustom Bharucha, The Polities of culture in a Age of Globalization
5. Bruce Brown, Marx Frend & Critique of Everyday life
6. Anatol Reppopert, Conflict in men made Environment
7. Rudolf Arnhein, Art and Visual percep

Specialization-5 (Acting)
Acting on Stage and Camera and Techniques and Methods of Performance

FS 324 Act. Paper: XIV

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to give students a certain awareness about the role that a character has played or can
play in acting by giving exposure to the works of some well- known actors/ actress and how they contributed to
establish link between theatre and cinema.

The objective of this course is to provide the students with the knowledge and techniques of film making and
familiarize them with the necessary and well-used methods.

Unit Tech.Hrs.

I) Acting in Daily Life 10

a. Imitation
b. Role playing : Individual/Social
c. Limitations and possibilities of cinema and stage
d. Fundamental similarities in, and Difference between, stage and film acting

II) Some Ideas of theatre Artists Who Later Became Legends of cinema 10
a. Marlon Branco
b. Lee Strasberg
c. Marlin Monroe
d. Dustin Hoffmann
e. Gong Li
f. Sir Lawrence Oliver
g. Nasirudin Shah

59
III) Comparative study of film and stage acting after watching the productions 10
IV) Knowledge about the techniques and methods of film making 10
a. Shot
b. Frame
c. Scene
d. Sequence
e. Continuity

V) 10
a. Inside preparation (Internal preparation)
b. Outside preparation

VI)
a. Going through the whole Script
b. Guiding instincts
c. Being Subtle
d. Actor’s self-analysis
e. Self- movement
f. Acting naturally and no acting at all
g. Playing different roles
h. Keeping sound health for voice and speech
i. Keeping good spirit and energy
j. Emotions through techniques

VII)
a. Sensitizing the senses through games and exercises
b. Enhancing concentration and focus
c. Listening to the sound feeling the texture
d. Feeling the texture
e. Smelling the surrounding
f. Testing
g. Moving towards points
h. Dubbing
i. Copying
j. Developing team sprits
k. Breaking inhibitions
l. Personal inventory
m. Acting therapy

Practical
1. Class Practical ( Based on Celluloid/Video format)
2. Song picturisation in Nepali (in Celluloid/video format)
3. Pop Song/ Folk song (in celluloid/video format)
4. Others (news/Sports/gathering)
5. Documentry (to be shot by students)
6. Documentary workshop by visiting experts

Text Books

1. V.I. Pudrrlin, Film Techniques and Film Acting

2. Loyos Eegri, Art of Dramatic writing
3. Richard Boleslavsky, Acting: The First Six Lessons
4. John Gaser, Direction’s in modern Theatre and Drama

References

1. Easnest Lindgrea, Film as an Art

60
 2. Vladrinir Nilsen, Cinema as a graphic Art
3. jyoti Sarup, Fluie Art of Acting – Film, Television, Drama & Real Life
4. Rustom Bharucha, The Polities of culture in a Age of Globalization
5. Bruce Brown, Marx Frend & Critique of Everyday life
6. Anatol Reppopert, Conflict in men made Environment
7. Rudolf Arnhein, Art and Visual perception

Specialization – 1 (Audiography)
Introduction to Audiography

FS 320 AUD `Paper: X

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective
The objective of this course is to familiarize the students with the basic principles and techniques of audiography.
Unit Tech Hrs.

I) Introduction to Audiography 80
a. Introduction of subject – sound 2
b. Basic principles of sound 8
c. Basic recording and play back chain 2
d. Basis of room and studio acoustics 3
e. Microphones – types, selection and users 10
f. Amplifiers, mixers and loudspeakers 10
g. Basis of magnetic recording and uses 10
h. Tape recorder’s head, amplifiers and transport mechanism 5
i. Mono, Stereo and multi track recording basics 10
j. Analog & Digital sound & its basic principles 10
k. Stages of sound recordings in cinema and its importance 10

Practical
1. Classroom demonstration of magnetic tape recorders. ( Nagra operation Practical ) 10
2. Classroom demonstration of microphones. (Sound studio practical) 20
3. Selection criteria of microphones and its use in sound pick up. (Sound
studio practicals) 16
4. Vice recording for use with slide projectors.(class room practical with the help of
computer) 20
5. Demonstrational tour of NFDC Balaju (1 day full) 6

61
6. Continuity exercise (Shorting by Dir. Student) 8

Text Books
1. Rayleigh, Theory of sound Vol I &II
2. Tnecaine, Audio Cyclopedia
3. A.A. Mc- Williams, Tape Recording & Repronction
4. Alec, Nisbelt, The techniques of the sound Studio
5. G.W Mackenzie, Acoustics
6. Robert E. Rustein – Modern Recording Techniques
7. G.B. cambell, Role of electronics (electronics) in Sound Recording
8. F.P. Zantis – Handbook for sound technicians (Tech/ elaktor electronics)
9. John Walkinson – The Art of digital Audio
10. J.R Field – Acoustic & Important

Reference:
1. Bartlett, On location Recording Techniques
2. Rumsey, Sound & Recording an introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Holman, 5.1 Surround Sound up and running
7. Kirk, Digital Sound Processing for music & multimedia
8. Smith, Audio Engineer’s Reference Boo

Specialization-2 (Audiography)
Fundamentals of Electricity (I)

FS 321 Aud. Paper: XIV

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to make students familiar with the basic and essential techniques and skills of the use
of power as realized through electricity or battery.

Unit Tech.Hrs.
I) Theory 80
a. Basics of static & Current Electricity i. Battery ii. AC iii. DC 20
b. Battery Charger and Principal 5
c. Magnetism & Electromagnetism 5
d. Resistance, Inductance & Capacitance 5
e. Ohms law and its use in AC/DC circuits. Series – Parallel Ckts. 10
f. Sources of e.m.f. 5
g. Measuring instruments-Galvanometer/Animator, Voltmeter, Frequency
Meter and LRC meters etc 10
h. Distribution and utilization of electric power. 10
i. Power Packs is U.P.S etc. its principal of operation and uses 10

Practical 80
1. Use of Millimeters & operational practical 16
2. Series and Parallel Ckts. And Currents & Voltage measures 16
3. Battery and Battery charger basic connections & chargering discharging 16
4. L-R-C measuring technique and use of Galvanometer/Animator,
Voltmeter, Frequency Meter. 16
5. Demonstration of PowerPack AC to DC camverters in vertors and U.P.S 16

62
Text Books
1. Rayleigh, Theory of sound Vol I &II
2. Tnecaine, Audio Cyclopedia
3. A.A. Mc- Williams, Tape Recording & Repronction
4. Alec, Nisbelt, The techniques of the sound Studio
5. G.W Mackenzie, Acoustics
6. Robert E. Rustein – Modern Recording Techniques
7. G.B. cambell, Role of electronics (electronics) in Sound Recording
8. F.P. Zantis – Handbook for sound technicians (Tech/ elaktor electronics)
9. John Walkinson – The Art of digital Audio
10. J.R Field – Acoustic & Important

Reference:
1. Bartlett, On location Recording Techniques
2. Rumsey, Sound & Recording an introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Holman, 5.1 Surround Sound up and running
7. Kirk, Digital Sound Processing for music & multimedia
8. Smith, Audio Engineer’s Reference Book

Specialization-3 (Audiography)
Fundamentals of Electronics (II)

FS 322 Aud. Paper: XII

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to familiarize the students with the basic principles of electronic emissions,
transmissions and operational techniques.

Unit Tech.Hrs.
1. Theory 80
a. Introduction of Subject 3
b. Basic Electronics – Principal of Electronic eunission – Vacuum tube 4
c. Basic electronics – Principle of Transistors 4
d. PN and PN diodes and PNP & NPN Transistors 4
e. Fundamentals of Intergraded Circuits 10
f. Operational and Audio amplifiers and circuits 10
g. Basic digital electronic – Logic circuits – Switches and functions 10
h. Binary numbers and bits & Bites 15
i. Analogue – Digital, Digital – analogue Conversion and Sampling 10
j. Basics of computer Sciences 15

Practicals
1. Function of diodes as rectifier : AC to DC converter 9power pack) 20
assembly
2. Assembly of audio amphiler (1 watt) type and measurement 25
3. Observation Practical of op. amp Ckts and 500 watt amplifiers and 5
Measurement
4. Observation practical of sound mixer and measurements 20
5. Logic switch construction and measurement 10

63
Text Books

1. Rayleigh, Theory of sound Vol I &II

2. Tnecaine, Audio Cyclopedia
3. A.A. Mc- Williams, Tape Recording & Repronction
4. Alec, Nisbelt, The techniques of the sound Studio
5. G.W Mackenzie, Acoustics
6. Robert E. Rustein – Modern Recording Techniques
7. G.B. cambell, Role of electronics (electronics) in Sound Recording
8. F.P. Zantis – Handbook for sound technicians (Tech/ elaktor electronics)
9. John Walkinson – The Art of digital Audio
10. J.R Field – Acoustic & Important

Reference:
1. Bartlett, On location Recording Techniques
2. Rumsey, Sound & Recording an introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Holman, 5.1 Surround Sound up and running
7. Kirk, Digital Sound Processing for music & multimedia
8. Smith, Audio Engineer’s Reference Book

Specialization-4 (Audiography)
Acoustics
FS 323 Aud. Paper: XIII
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to familiarize the students with sound waves and their behaviors, and thus with the
quality and behavior of sound.

Unit Tech.Hrs

1. Theory 80
a. Basic sound – Definitions and Components. Its units – Decibel, Bel etc. 7
b. Sound waves and their behaviors 9
I) Reverberation ii) Echo iii) Standing waves etc.
c. Sources of sound – Volume and Pitch 8
d. Sound reflection, Diffraction, Diffusion and Absorption 8
e. Quality of Sound – Timbre (Fundamental frequency and Harmonics) 8
f. Behavior of sound – Its velocity, Pressure and Attemetion factors 8
g. Principal of sound room constructions 8
h. Measurement technique of sound equipment and its use 8
i. Acoustical Materials and their properties 8
j. Psychoacoustics 8

Practical 80
1. Study of Resonant Pipes With Tm……..Fork 16
2. Familiarization with: Pure Sign Wave Tones and Square/Triangle Wave
Tones 16
3. Differences in Reverberation and Echo- natural room and Artificial 16
4. use of S.P.L. Meter and measurements 16
5. Use of Computer software in Acoustical Measurements 16

64
Text Books

1. Rayleigh, Theory of sound Vol I &II

2. Tnecaine, Audio Cyclopedia
3. A.A. Mc- Williams, Tape Recording & Repronction
4. Alec, Nisbelt, The techniques of the sound Studio
5. G.W Mackenzie, Acoustics
6. Robert E. Rustein – Modern Recording Techniques
7. G.B. cambell, Role of electronics (electronics) in Sound Recording
8. F.P. Zantis – Handbook for sound technicians (Tech/ elaktor electronics)
9. John Walkinson – The Art of digital Audio
10. J.R Field – Acoustic & Important

Reference:
1. Bartlett, On location Recording Techniques
2. Rumsey, Sound & Recording an introduction
3. Watkinson, The Art of Sound Recording
4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Holman, 5.1 Surround Sound up and running
7. Kirk, Digital Sound Processing for music & multimedia
8. Smith, Audio Engineer’s Reference Book

Specialization-5 (Audiography)
Audio Recording, Mixing and Technology of Audiography
FS 324 Aud. Paper: XIV
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+Pract. 80

Objective
The objective of this course is to introduce the students with the basic tents of the Eastern and western music and the
basic principles of recording and receptions.

The Objective of this course is to familiarize students with the recording and the principles of recording.

Unit Tech.Hrs
I) Theory 40
a. Principal of Magnetic recording, Magnetism and Electromagnetic 2
b. Recording and playback chain and its function 2
c. Magnetic tapes and sound films` 3
d. Principles of recording on sound films 2
e. Mono sound stereo sound and surround sound 2
f. Noise reduction technique and uses 2
g. Analogue and digital recording, Principal 2
h. Pormerits and demerits: Synchronous sound, Analogue/Digital Recorders2
i. Tape recorder head, Electronics and its uses. Transports, Its functions
and preventive maintenance 3
j. Multi track recording – Its Principal and application 3
k. Digital Audio work stations – Principal and application 3
l. P.C./Dedicated computer based hard disk recording 4
m. Analogue and Digital sound mixer differences and application 2
n. Optical recording theory – variable area and density, light valve low and
high cut filter and its uses. 2
o. Principal of Analog & Digital surround sound system 3
p. Dolby surround, Dolby Digital, DST THX etc. systems 3

65
Practical

1. Placing and selection of microphone for sound (sole voice and instrument)
Recording in a studio 4
2. Election and Placing on Microphones and song recording exercises 4
3. Use of Portable Professional tape recorder ( Nagra may be ) in field
synchronous recordings. 17
4. Use of PC & Dedicated computers in voice & music Recording 15
5. Use of Dedicated computer in sound Mixing for film 10

Unit Tech.Hrs
II) Theory 40
a. Music in films, principles and its use: i) Eastern music
ii) Western musiciii) Background music 9
b. Aural perception – Principal and uses 3
c. Stage of sound recording in cinema detailed studies 3
d. Co-ordination with Director, Cinematographer and Editor 2
e. Mono, Stereo, Sound – analogue and Digital sound in cinema – Detail
Studies 3
f. Digital recording – details 4
I) Sampling II) Synchronization III) Time Compression etc
g. Time code – SMPTE – EBU, Chase Synchronization L.T.C. – MIDI etc 6
h. Projection theory and uses 4
i. Sound in Television and Video 5

Practical 40
1. Music listening exercises 8
2. Identification of Ragas and its Suitable moods cinema – exercise 8
3. demonstration exercises of projection equipment celluloid and video
projector 2
4. Observation exercises of sound recording 4
5. Observation exercises of sound recording at location – shooting 8
6. Observation exercises of sound dubbing and narration recording 3
7. Observation exercises of mixing film – Analogy and Digital technique 4
8. Observation exercises of sound transfer on magnetic tapes and sound
Films 3

Text Books

1. Rayleigh, Theory of sound Vol I &II

2. Tnecaine, Audio Cyclopedia
3. A.A. Mc- Williams, Tape Recording & Repronction
4. Alec, Nisbelt, The techniques of the sound Studio
5. G.W Mackenzie, Acoustics
6. Robert E. Rustein – Modern Recording Techniques
7. G.B. cambell, Role of electronics (electronics) in Sound Recording
8. F.P. Zantis – Handbook for sound technicians (Tech/ elaktor electronics)
9. John Walkinson – The Art of digital Audio
10. J.R Field – Acoustic & Important

References:
1. Bartlett, On location Recording Techniques
2. Rumsey, Sound & Recording an introduction
3. Watkinson, The Art of Sound Recording

66
 4. Stone, Audio Recording for Profit
5. Self, Self on Audio
6. Holman, 5.1 Surround Sound up and running
7. Kirk, Digital Sound Processing for music & multimedia
8. Smith, Audio Engineer’s Reference Book
9. Roy Bennett – Music Dictionary ( Cambridge University Press )

Specialization – 1 (Editing)
Introduction to Film Editing

FS 320 Ed. Paper: X

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective
The objective of this course is to give the students familiarize with the various forms of films, techniques and the
methods and techniques of editing.
Unit Tech Hrs.

I) The practice of Editing 20

a. Action Sequences
b. Dialogue Sequences
c. Comedy Sequences
d. Montage Sequences
e. Documentary Reportage
f. Imaginative Documentary
g. The documentary Films of Ideas
h. The Documentary and the Use of Sound
i. Educational Film
j. Newsreels
k. The Compilation Film

III) Important Movement and types of Movement 18

A. Subject Movement
B. Camera Movement
a. Pan. (Paining)
b. Tilt up and Tilt down
c. Trolley Shot or Track Shot

67
 d. Trolley Forward
e. Trolley Back
f. Parrallel Track
g. Crane Shot – Crane up – Crane Down
h. Zoom – Zoom out – Zoom in

III) Basic fundamental requirement of scene Transition and Other Technical

Aspects: (Through: During Shooting and Laboratory Process) 22
a. Fade in b. Fade out
c. Dissolve d. Superimpose
e. Wipe – its different pattern f. Insert
g. Swiss pan h. Swift pan
i. Montage j. Flash Back
k. Flash Forward l. Match cut
m. Matching of the position n. Matching of the look
o. Matching of the movement p. Imaginary line

IV) Digital, Non – Linear Editing System – Clip Sequence – Timeline 10

V) Optical Work – (Celluloid and Video) 10

Practical (Celluloid/Video) 80

1. Practical Class Room: Editing of Action Sequences, Dialogue Sequences,

Comedy Sequences, Construction of montage, Documentary editing, Newsreels.
2. Snag/Playback – editing (stock – Nep. Film)
3. Practice of cutting of movement shot
4. Editing of continuity exercise (Shoot by Direction student) Celluloid/Video

Text Books
1. Earnest Walter, The technique of the film Cutting Room
2. Karel Risz & G. Millare, The Techniques of Film Editing
3. John Burder , The Technique of Editing 16mm Film
4. Thames and Hudson, Digital Non – Linear Editing How approaches to Editing and Thomas Ohauian
Manner of film Editing
5. Bethesda, Recommended procedure for motion Picture & Video Laboratory Services.
6. SMPTE, Control Technique in film processing

Reference:

1. John Burder, 16mm Film Cutting

2. Happe, L. Bernard, Your Film and the Lab
3. Ernest Lindgren, Film as an Art
4. James Monaco, How to read a film
5. Stephenson & Delacroix, Art of the film
6. Langfort, Independent Film Maker’s Manual
7. Rabiger, Directing Film techniques& Aesthetics
8. Tayler, The Encyclopedia of Animation Techniques
9. Sergei Eisentein, Notes of a Film Director
10. J. Dudley Andrew, The Major Film Theories: An Introduction
11. Karol Berger, A Theory of Art
12. Edit. John Hill & Pamela Church Gibson, World Cinema: Critical approaches
13. Kallenborger, Film in to video
14. Walkinson, The Art of Digital Video, 2ED

68
 Specialization – 2 (Editing)
Principle of Picture Editing

FS 321 Ed. Paper: XI

Full Marks: 100
Pass Marks: 35
Tech. Hrs. 160
Theo. 80+ Pract. 80

Objective
The objective of this course is to familiarize the students with the principles and practices of editing.

Unit Tech Hrs.

1. Editing the Picture 10

a. General
b. Reason for Cutting
c. Cutting and Reaction
d. Dramatic emphasis by cutting
e. Different Style or Pattern of Different Sequence Like: Dialogue, Comedy, Action, Montage, Sentimental
etc.
f. Development of Cross Cutting

2. The Practice of Editing: With sound 10

a. Action Sequences
b. Dialouge sequence
c. Comedy sequence
d. Montage Sequences
e. Documentary Reportage
f. Documentary Imaginative
g. Educational Film
h. Newsreels
i. The Compilation Film

69
 j. J.A.D. Film

Screening of above film and discussion on it – by concern professional personalities.

insertion of optical dupes, titles etc. Marking of final mixed sound with
negative – answer print - foreign version (if made).

IV Track-laying of music - effects - dialogue preparation of RR - Cue sheets cue marks on the print
(RR Print) - Premixloops for mixing - multi channel sound - final mixing (Photographic sound,
Sound Neg. exposing) - Editor's responsibilities in mixing operation. 10

V Making of standard leader for Final Picture negative and mixed Final sound Negative. 10

VI Editing of trailers - technicians involved are experienced in the reduction and condensation -hdfpg_
of stories so that an exciting impression of a 2hr. film can be shown on the screen as a 5 - 10
mins. sequence - (by using optical works also with title of different them. 10

VII Idea about telecine - From Negative or Positive. 10

VIII Making a AD Film (in video) 10

Practicals 80

1) Classroom Practical: (Celluloid or Video)

a) Dialogue Scene / Sequence - Stock from Nepali Film.

b) Song (Shoot by student & - do-)
c) Action Scene/Seq. - Stock from Nepali Film.
d) Other - News/Spoots/meeting etc (Shoot by student)
e) Documentary (Shoot by student)
f) Ad Filar (Shoot by student)

2) Editing of Documentary (Workshop Project - with co-ordination of Direction student by individually

editing student)
3) Negative Cutting of Dialogue and Song (Shoot by student).
4) Tracklaying practice and making a RR Cue sheet, Background music cue sheet etc (in Dialogue and
Documentary shoot by student & Professional personalities also).
5) Editing, negative cutting & track laying of FINAL PROJECT., matching of mixed sound negative with
final picture negative - for making of Answer print - checking of answer print.

Text Books

1. Earnest Walter , The Technique of the Film Cutting Room

2. Karel Risz & G. Millar, The Technique of Film Editing
3. John Burder, The Technique of Editing 16mm Film
4. Thames & Hudson, Digital Non-Linear Editing How approaches to Editing and Thomas Ohauian
Manner of Film Editing
5. Bethesda, Recommanded Procedure for Motion Picture & Video Laboratory Services.
6. SMPTE, Control Technique in Film Processing

References

70
1. John Burder, 16mm Film Cutting
2. Happe, L. Bernard, Your Film and the Lab
3. Ernest Lindgren, Film as an Art
4. James Monaco, How to read A Film
5. Stephenson & Delacroix, Art of the Film
6. Langfort, Independent Film Maker's Manual
7. Rabiger, Directing Film Techniques & Aesthetics
8. Tayler, The Encyclopaedia of Animation Techniques
9. Sergei Eisentein, Notes of a Film Director
10. J. Dudley Andrew, The Major film Theories: An Introduction
11. Karol Berger, A Theory of Art
12. Edit. John Hill & Pamela Church Gibson, World Cinema: Critical approaches
13. Kallenborger, Film in to Video
14. Walkinson, The Art of Digital Video, 2ED

Specialisation - 3 (Editing)
Principles of Sound Editing

FS.322. Paper: XII

Full Marks: 100
Pass Marks: 35
Tech.Hrs. 160
Theo. 80+Pract. 80

Objective

The objective of the course is to familiarise the students with the techniques and methods of sound editing to create
effects by combining the sound effects with the screen play.

Unit Tech.Hrs.

I Music Editing 20

Editing with sound: Music - song Effect. Sound as a storytelling - device. Counterpoint illustration.
Making beat and aligning picture, Cutting on or off the beat. (Editing playback) (Playback) Elements of
music video. New wave.

II Music 20

a) Playback system: Preparation of sound track for playback cueing Synchronising and cutting
playback (Sequence).
b) Preliminary work in editing for obtaining background music composer's cuesheet -
recording session - cueing the film for recording (with Projection).
III Making a sound track of trailers from mixed final sound track and new track. 10

IV Use of sound in documentary 10

V Analysis of sound track 10

71
VI Music montage 10

Practicals 80

1) Music editing - Song - Effect.(Make a short from long - Song (Effects)

2) Adjustment of background music - From Fresh - recording and stock (old recording or use by other)
3) Making a sound track of AD Film.
4) Making a sound track of trailers from mixed final sound. or New sound track.
5) Analysis of sound track
6) Making a track of Documentary (Workshop project - with co-ordination of Direction student.)
7) Making a track of documentary (shoot by student).
8) Making a track of AD Film (Shoot by student).

Text Books

1. Earnest Walter , The Technique of the Film Cutting Room

2. Karel Risz & G. Millar, The Technique of Film Editing
3. John Burder, The Technique of Editing 16mm Film
4. Thames & Hudson, Digital Non-Linear Editing How approaches to Editing and Thomas Ohauian
Manner of Film Editing
5. Bethesda, Recommanded Procedure for Motion Picture & Video Laboratory Services.
6. SMPTE, Control Technique in Film Processing

References

1. John Burder, 16mm Film Cutting

2. Happe, L. Bernard, Your Film and the Lab
3. Ernest Lindgren, Film as an Art
4. James Monaco, How to read A Film
5. Stephenson & Delacroix, Art of the Film
6. Langfort, Independent Film Maker's Manual
7. Rabiger, Directing Film Techniques & Aesthetics
8. Tayler, The Encyclopaedia of Animation Techniques
9. Sergei Eisentein, Notes of a Film Director
10. J. Dudley Andrew, The Major film Theories: An Introduction
11. Karol Berger, A Theory of Art
12. Edit. John Hill & Pamela Church Gibson, World Cinema: Critical approaches
13. Kallenborger, Film in to Video
14. Walkinson, The Art of Digital Video, 2ED

72
 Specialisation - 4 (Editing)
Practice of Editing

FS.323. Paper: XIII

Full Marks: 100
Pass Marks: 35
Tech.Hrs. 160
Theo. 80+Pract. 80
Objective

The objective of the course is to further familiarise the students with the techniques of editing and work towards
finalising the editing work.

Unit Tech.Hrs.

I This topic is based or Combination of "Principles of Picture Editing and Principles of Sound Editing".
40

Except (excluding) these - we have add film Screening and discussion with concerned teacher or guide - on
direction point of view, camerawork, sound part. Editing post.

II Development of Cross Cutting 40

Practicals 80

1. Writing of Comments on each subject (Faculties) like: Direction Point of view, Camera Work. SD Part.
Editing Part

Text Books

1. Earnest Walter , The Technique of the Film Cutting Room

73
2. Karel Risz & G. Millar, The Technique of Film Editing
3. John Burder, The Technique of Editing 16mm Film
4. Thames & Hudson, Digital Non-Linear Editing How approaches to Editing and Thomas Ohauian
Manner of Film Editing
5. Bethesda, Recommanded Procedure for Motion Picture & Video Laboratory Services.
6. SMPTE, Control Technique in Film Processing

References

1. John Burder, 16mm Film Cutting

2. Happe, L. Bernard, Your Film and the Lab
3. Ernest Lindgren, Film as an Art
4. James Monaco, How to read A Film
5. Stephenson & Delacroix, Art of the Film
6. Langfort, Independent Film Maker's Manual
7. Rabiger, Directing Film Techniques & Aesthetics
8. Tayler, The Encyclopaedia of Animation Techniques
9. Sergei Eisentein, Notes of a Film Director
10. J. Dudley Andrew, The Major film Theories: An Introduction
11. Karol Berger, A Theory of Art
12. Edit. John Hill & Pamela Church Gibson, World Cinema: Critical approaches
13. Kallenborger, Film in to Video
14. Walkinson, The Art of Digital Video, 2ED

Specialisation - 5 (Editing)
Laboratory Procedure Editing, Television Technology and Digital Editing System

FS.324. Paper: XIV

Full Marks: 100
Pass Marks: 35
Tech.Hrs. 160
Theo. 80+Pract. 80

Objective

The objective of this course is to familiarise the students with the laboratory procedure of editing.
The objective of the course is to give exposure to students to the basic techniques of digital editing system and
familiarise them with the principle methods.

Unit Tech.Hrs.

I Introduction of Laboratory (Idea in short) 10

a) Chemical room
b) Dark room or loading - Unloading room: Expose - unexposed Negative and Positive.
c) Negative - developing machine
d) analysis room / Col. Correction room (Manually or Computerised etc.)
e) Printing room
f) Positive - developing mechanic
g) Develop - Neg./Post - Checking room.

II Laboratory Process (Production) 10

a) Expose Pic.Neg. - developing

b) Developing of Neg. checking and prepare of checking report - by Neg. checker (Manually)
c) Sorting of expase Neg. or without sorting - order for making rush Print/Work Print
d) Printing of Rush Print/Dailies/Work Print

74
 i) One light or Without Correction.
ii) Corrected - Manually or Computerised system etc.
iii) Contact Print.
iv) Blow up print.
v) Reduction Print. etc.

e) Developing of rush print/Dailies/Work Print

f) Developing of rush print/Dailies/Work Print checking and prepare of checking report - by Post.
Checker - (Manually).
g) Checking of Rush Print - by Laboratory authority and Production authority-with Projection
in theatre (Hall.)
h) Hand over on Delivery of Rush Print / Work Print to Production authority- for the purpose of
Editing dubbing or post production.

III Laboratory Process (Post - Production) 10

a) Visual Optical Work - like - dissolve - superimpose - Fade in & Out, - Wipe, title, making etc.,
and making duplicate Negative.
b) Colour Correction/Analysing: Manually (illy system), Computerised.
c) Duplicating the master: Pie Neg. or sound Neg. (For the purpose of making several copies).
d) Making of R/R Print (with Dialogue and Song only).
e) Checking of R/R Print - Manually and with Projection.
f) Sound Negative - developing (after R/R or Re-recording or Mixing Complete.).
g) Marking in final Picture and Sound Negative (syne. Mark- by Printer.)
h) Printing of Answer Print or 1st copy (Release Print).
i) Developing of Release Print (Answer Print or 1st copy)
j) Checking of Release Print ((And Print or 1st copy) Manually and prepare of checking report
by Positive Print Checker.
k) Checking of Release Print - Print Picture quality - sound quality and Synchronisation also.

IV Making of trailer of concern film. 5

V Development of Technology (TV & Computer) 10

a) Video signal & Television signal.

b) Transmission of Black & Whith / Colour.
c) Video recording principles: Tape: Dise
d) Linear editing and Non-linear (Old type and developed)
e) Basic introduction to the two system of editing.

VI DNLE - Online system, Picture quality compression - losses/uncompressed systems. sampling rates, wave
for monitor, vectorscope, audio Equalisation. the different digital formats - DV. DV CAM, DIGITAL
BETA, HD CAM. Impact (Impact) of firewire, Non-linear editing, trimming, Digiting (digitising) real
time 2D and 3D digital video effects. Output from DNLE system. - 10

VII Audio post production: Track laying Mixing, audio Compression limits (Limiters) and Equaliser. Editing
Film on Video (in AVID): Teleeine 3'2 Pull down (Pull down).
- 5

VIII Concept of Multicamera shoot. 5

IX Concept of Compositing, Rotoscopy. Morphing, Blue Screen and Green Screen.

Practicals 40

1. Observation or study tour of laboratory.

2. Class room Practical:

75
 a) Idea about Neg. checking system (Manually)
b) Idea about Post. checking system (Manually)
c) Idea about marking of optical work in Positive - Rush Print and in the Neg. also for the
purpose of making dupe Neg. also.
d) Marking of syne - in the final Picture Negative & sound final Negative (with - maintain) stand
shift (for the purpose of printing final print).
e) Decided - the length of title card, with music beat or without music piece.
f) Idea about - how to remove or vut the censort - without visual (Picture) and sound jerk (in the
release Print).
g) How to Cut Picture negative and Sound negative - accordingly censor cut.
(in the single sound track and in the double sound track boote side expose sound negative-
separate- separate reel. - its problem and how to solve it.)

3. Dialogue exercise/Song-editing.
4. AB Roll Editing, Titling, use of DVE. Keying.
5. Audio - Post production. Track laying. Editing News stories and Documentaries.]
6. Television (TV) Multicamera, Co-ordinate exercise (by conducted as a workshop by professional personalities).

76