TRIBHUVAN UNIVERSITY.

FACULTY OF HUMANITIES AND SOCIAL SCIENCES

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

Programme year: - 2008- 2011 AD

FILM STUDIES SUBJECT COMMITTEE

TRIBHUVAN UNIVERSITY, KIRTIPUR, KATHMANDU
NEPAL

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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
3) Cinematography
4) Autography
5) Editing

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 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) 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
vi) 325.Dir Project Work.

Requirements

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

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 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 311 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

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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.

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

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FS 312 Paper II
Full Marks: 100
Pass Marks: 35
Tech. Hrs. 150

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10
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11
 History of Nepal
FS 313 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

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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.
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

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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
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

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 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

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 History of Film
(Compulsory)
FS 314 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
Nickelodeons 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.

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 C) Cinema and other arts: 1914 - 1930 5

Major art movements and their influence on the film medium.

Non-Hollywood. Experimentation 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, films.
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

IV 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.

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

VI 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 and Directions

Film as 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

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 Film as a Mass Communication Medium

Sociology of Popular Cinema 5

Detailed analysis of a popular Nepali film

VII Audiography
1. Sound as eldest 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 scientific inventions 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.

VIII 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 System of Editing
E) Linear and Non-Linear Editing

IX.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 violence
 Medieval theatre: influence of religion and morality in acting
 Shakespearean theatre and its acting style

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

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  photography taken as science, art and evidence

II) Introduction of still camera (History included)

III) Information about lenses

Practical 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

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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

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

21
 e) Preserving a sense of direction
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

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 4.2 Importance of Sound in Cinema
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 Cinematography

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

Practical:

I. Film Screening: Examples of different genres, 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.

23
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
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 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

26
 Hinduism – Saivism, Vaisnavism and Shaktism; Buddhism – Hinayana, Mahayana and
Vajrayan. (15)

Unit V: Art and Artitecture of Nepal

Early Sculptures, Lichhavi Sculptures, and Medieval Sculptures – Terracotta 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

28
 Major theoretical approaches of Sociology and Anthropology; Evolutionism, Diffusionism,
Functionalism, Structural – Functionalism, Cultural Ecology, Symbolism, Globalization and
Postmodernisms. 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,
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 Sherpa’s – 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.

29
 Sahay, K.N., 1999, a. Visual Anthropology and Indian Fiction Films

Compulsory psychology

FS 318
F.M. 100
P.M. 35
Tech. Hrs. 150

Unit I: introduction to psychology as a science

1. Meaning of psychology
2. Brief historical background
o Greek period (psychology as a science of soul and mind)
o Pre modern period (psychology as a science of consciousness)
o Modern period (psychology as a science of behavior)
o Current definitions of psychology (psychology as science of behavior and mental
process

30
3. Perspectives in psychology:
a. Psychodynamic, humanistic, cognitive, socio- cultural, and evolutionary.
4. Scope of psychology: applied and basic psychology
5. Goals of psychology
6. Interrelationships between other social sciences (sociology and anthropology)
7. Methods in psychology: experimental, observational, survey (interview and questionnaire)
and case study method.
Unit II: biological basis of human behavior

The Nervous system

a. Neurons: structure, types, functions, neurotransmitter related behavior
b. Division of nervous system
i. Central nervous system: structure and functions
ii. Peripheral nervous system: structure and function
1. The endocrine system and related behavior
a. Pituitary gland
b. Adrenal gland
c. Gonads gland
d. Thyroid gland
e. Parathyroid gland
f. Pineal gland

Unit III: sensation and perception

1. Brief introduction to sensory process
2. Definition and characteristics of perception
3. Factors influencing perception and attention
4. Perceptual organization
a. Form perception: figure and ground and laws of grouping
b. Perceptual constancies
c. Perception of depth and distance
5. Perceptual illusion
6. Social perception

Unit IV: motivation

1. Definition, characteristics and importance of motivation
2. Motivational cycle: Need, Drive, incentive and reward
3. Classification of motives:
a. Physiological motive
i. Hunger, thirst, sleep and sex motive
ii. Drive theory of motivation
b. Psychological motive
i. Affiliation, achievement, approval
ii. Maslow hierarchy of motives
4. Theories of motivation
a. Instinct theory of motivation
b. Cognitive theory of motivation

Unit V: Emotion and behavior

1. Definition, characteristics and importance of emotion
2. Physiology of emotion

31
3. Cognitive and behavioral changes in emotional states
4. Types of emotion:
i. primary (happiness, sad, anger, fear, surprise, and disgust)
ii. Secondary emotion
5. Theories of emotion|:
a. James Lange theory
b. Connon- Bard theory
c. Schacher – singer theory
6. Relationship between emotion and motivation
7. Emotional intelligence

Unit VI: learning

1. Definition, nature, characteristics, importance of learning
2. Instinct, maturation and learning
3. Factors affecting learning
4. Theories of learning
a. Classical conditioning
b. Operant conditioning
c. Cognitive learning
i. Social learning
ii. Insight learning
5. Application of learning theories
6. Transfer of learning
a. Positive, negative, zero

Unit VII: Memory and forgetting

1. Definition, nature, characteristics, importance of memory
2. Process of memory
a. Encoding
b. Storage
c. Retrieval
3. Stages of memory
a. Sensory
b. Short term memory
c. Long term memory
4. Types of memory
a. Explicit memory
b. Implicit memory
5. Forgetting
a. Definition, and nature of forgetting
b. Causes of forgetting: trace decay, interference, reconstruction,
motivated forgetting, Amnesia
6. Techniques of improving memory

Unit VIII: Thinking and problem solving

1. Definition, nature, characteristics, importance of thinking
2. Role of concept, images, and symbol of thinking
3. Concept formation: process and types of concept
4. Types of thinking:
a. Creative thinking

32
 i. Stages of creative thinking
b. Critical thinking
c. Problem solving thinking
i. Stages of problem solving thinking
ii. Role of habit and mental set in problem solving
thinking
d. Autistic thinking

Unit IX: intelligence

1. Definition, nature, and importance of intelligence
2. Determinants of intelligence
a. Heredity
b. Environment
3. Factors affecting intelligence
a. Education
b. Urban/ rural condition
c. Economic condition
4. Types of intelligent:
a. General intelligence
b. Specific intelligence
5. Measures of intelligence
a. Concept of I. Q
b. Wechsler’s test
c. Stand fort Biner’s test
6. Types of intelligence test
a. Verbal and performance tests
b. Group and individual tests
7. Individual difference in intelligence
a. Mental retardation
b. Mentally gifted

Unit X: personality
1. Definition, nature and importance of personality
2. Determinants of personality
a. Heredity
b. Environment
c. Situation
3. Approaches to personality:
i. Traits approach of Allport, Cattel, Eydenk- Big five
model
ii. Types ( Kreschmer, Sheldon, C. G Jung, Vedic)
4. Personality assessment
1. Interview method
2. Observational method
3. Projective tests
a. Thematic appreciation test
b. Rorschach inkblot test
c. WAT, Sentence completion test
d. Objective tests (MMPI, 16PF, CPL, MBTi)

33
 Group ‘ B’ practical
1. Maze learning
2. Paired association learning
3. Retroactive inhibition
4. Physical change in emotion
5. Knowledge of result in performance

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%

34
The examination pattern will be decided any the subject Committee.

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 familiarize 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 Conceptualization and Development 15

Stages of Writing

i) Idea
ii) Research

35
 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

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) Characterization

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

Practical 80

Visual script for Direction practical digital still project.

36
Visualization 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
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

37
 Third Year

Code No. Subject Full Marks

FS 321 Story analysis (Th & Pr) 100
FS 322 Techniques of screen writing 100
(Th & Pr)
FS 323 Art of adaptation(Th& Pr) 100
FS 324 Directing shot by shot and 100
directing actors(Th&Pr)
FS 325 Specialization VI (Project 100
Work)

38
 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 mélanges 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

39
 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

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

40
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
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

41
 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
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

42
 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
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

43
 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

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 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

44
 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
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.

45
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

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

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 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
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
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

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

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 e. Adjustments

XII) Shooting 1 10

All the above units require both theoretical and practical classes

FS 325 – project work

Full marks – 100

Pass marks - 40

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

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The writing and directing students will be assigned to ongoing 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
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

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 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
14. Paulo Fraire, Cultural Action for Freedom

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