THE MAHATMA GANDHI UNIVERSITY

UNDERGRADUATE PROGRAMMES
(HONOURS)

SYLLABUS

MGU-UGP (HONOURS)
(2024 Admission Onwards)

FACULTY: FINE ARTS

EXPERT COMMITTEE: MULTIMEDIA
PROGRAMME: BACHELOR OF ARTS (HONOURS)
MULTIMEDIA

MAHATMA GANDHI UNIVERSITY

Priyadarshini Hills
Kottayam – 686560, Kerala, India

Page 1 of 282
Page 2 of 282
 CONTENTS

PREFACE ............................................................................................................................................
BOARD OF STUDIES & EXTERNAL EXPERTS .........................................................................
SEMESTER - I
FOUNDATION PHOTOGRAPHY ..................................................................................................
INTRODUCTION TO DRAWING ..................................................................................................
BASIC PHOTOGRAPHY ...............................................................................................................
SEMESTER - II
FUNDAMENTALS OF VIDEOGRAPHY........................................................................................
RASTER GRAPHICS .....................................................................................................................
INTRODUCTION TO VIDEOGRAPHY..........................................................................................
INTRODUCTION TO MUSIC ........................................................................................................
SEMESTER - III
UNDERSTANDING FICTION .......................................................................................................
MEDIA AND ACTOR ....................................................................................................................
ART AND SCIENCE OF LIGHTS ..................................................................................................
INTRODUCTION TO DIRECTION ................................................................................................
BASIC LIGHTING TECHNIQUES .................................................................................................
SET DESIGN .................................................................................................................................
ENVIRONMENTAL FILMMAKING ..............................................................................................
SEMESTER - IV
UNDERSTANDING ART ..............................................................................................................
PRODUCTION DESIGN - I ............................................................................................................
MULTICAM SETUPS ....................................................................................................................
SOUND DESIGN FOR FILM .........................................................................................................
CHROMA KEYING CREATIONS ..................................................................................................
BASICS OF ACTING .....................................................................................................................
BASICS OF DIGITAL DATA .........................................................................................................
PHOTOJOURNALISM...................................................................................................................
INTERNSHIP ................................................................................................................................
SEMESTER - V
GROWTH OF CINEMA .................................................................................................................
PRODUCTION DESIGN - II ...........................................................................................................
INTRODUCTION TO VISUAL EFFECTS ......................................................................................
SCRIPTING FOR VARIOUS MEDIA .............................................................................................
ADVANCED VIDEOGRAPHY ......................................................................................................
DIALOGUE EDITING ...................................................................................................................
Page 3 of 282
 IMAGE ENHANCEMENT AND FASHION PHOTOGRAPHY ........................................................
CAPTURING MINIATURE............................................................................................................
SEMESTER - VI
FILM APPRECIATION ..................................................................................................................
VISUAL AESTHETICS OF FILM MAKING ...................................................................................
SHAPING THE FORM AND CONTENT FOR FILM .......................................................................
THE ART OF GRAY SCALE: EXPLORING MONOCHROME PHOTO ...........................................
MASTERING DIRECTORIAL CRAFT ...........................................................................................
VISUAL STORY CREATION ........................................................................................................
PHOTO DOCUMENTARY ............................................................................................................
FILM CERTIFICATION PROCESS ................................................................................................
SEMESTER - VII
MEDIA ETHICS ............................................................................................................................
ANALYSING THE FILMMAKING PROCESS................................................................................
ART AND CRAFT FOR FILMMAKING .........................................................................................
MOOD LIGHTING ........................................................................................................................
MISE-EN-SCENE ..........................................................................................................................
MUSIC VIDEO PRODUCTION ......................................................................................................
PRODUCT VIDEO MAKING .........................................................................................................
MEDIA MANAGEMENT...............................................................................................................
RESEARCH METHODOLOGY......................................................................................................
SEMESTER - VIII
VISUAL ENHANCEMENT TECHNIQUES ....................................................................................
TECHNICAL COMPONENTS OF FILMMAKING ..........................................................................
HONOURS PROJECT / HONOURS WITH RESEARCH..................................................................
TRUTH-TELLING STORYTELLING .............................................................................................
INTRODUCTION TO DOCUMENTARY FILMMAKING ...............................................................
DOCUMENTARY FILMMAKING IN PRACTICE ..........................................................................
PRODUCT BRANDING PRESENTATION .....................................................................................
MARKETING FILMS: CRAFTING CAMPAIGNS ON SCREEN .....................................................

Page 4 of 282
 PREFACE

The multimedia industry is experiencing rapid growth, presenting abundant opportunities for skilled
professionals capable of producing captivating digital content. The undergraduate program in
multimedia lays a strong foundation for a prosperous career in this dynamic and creative field. It offers
a diverse skill set and comprehensive knowledge, enabling individuals to explore various sectors such
as entertainment, education, and creative documentation processes.

This program provides students with a range of courses to choose from, allowing them to tailor their
education based on their interests and passions. The filmmaking pathway, for example, prepares
students for a wide range of career options including film and television production, documentary
filmmaking, advertising, corporate videos, and online content creation. The increasing demand for
original content in these areas presents exciting opportunities for aspiring filmmakers. Additionally,
students have the option to pursue courses related to cinematography, which opens doors to
collaboration with directors and other creative professionals across different media platforms such as
film, television, advertising, and online content.

Given the rising demand for trained professionals across various industries, the skills and knowledge
gained from this program provide a solid foundation for a rewarding and dynamic career in the
entertainment industry and beyond.

Page 5 of 282
 EXPERT COMMITTEE & EXTERNAL EXPERTS

Members of Expert Committee in Multimedia (U.G)

1. [Link] L.K, Associate Professor and Head of Department I/C , K R Narayanan National
Institute of Visual Science & Arts, Thekkumthala, Kottayam. Ph:9447708592 (Convenor)

2. [Link] Susan Mathew, Assistant Professor, [Link] College of Communication,

Changanassery

3. [Link] Augustine, Assistant Professor, Holy Cross College, Pala.

4. [Link] C Amakkadu, Assistant Professor, [Link] College of Communication,

Changanassery.

5. Smt. Anuja Das P.M, Assistant Professor, Yeldo Mar Baselios College, Kothamangalam

6. [Link] V.N, Assistant Professor, [Link] College, Vaikom.

7. [Link] Sebastian, Assistant Professor, [Link] College of Communication, Changanassery.

8. [Link] Babu, Professor, K R Narayanan National Institute of Visual Science & Arts,
Thekkumthala, Kottayam

9. [Link] Lukose, Assistant Professor, [Link] College of Communication, Changanassery.

10. [Link] Koulik, Assistant Professor, Dept. of Graphic Design, ISCA, Jain University
Campus. Kochi

11. [Link] C Kumar, Head, Data Visualisation & Fact Check, Mathrubhumi,Kochi.

Subject Experts

External Subject Expert: Shri Sunny Joseph

Cinematographer & Film Director

Internal Subject Expert: Prof. Sivaprasad C

Film Maker & Academician

Page 6 of 282
SYLLABUS REVISION COMMITTEE

1. [Link] Susan Mathew, HoD, Department of Media Studies, St Joseph College of

Communication, Changanacherry.

2. [Link] Murukesan, Assistant Professor, St Joseph College of Communication,

Changanacherry.

3. [Link] Peter, Research Scholar, School of Letters, MG University, Kottayam.

4. [Link] Kalathil, Cinematographer.

5. [Link] D, Assistant Professor, Yeldo Mar Baselios College, Kothamangalam.

6. [Link] Krishna, Assistant Professor, Yeldo Mar Baselios College, Kothamangalam.

Page 7 of 282
 Syllabus Index
Name of the Major: MULTIMEDIA

Semester: 1

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O
FOUNDATION
DSC-A 4 5 0 3 2 0
MG1DSCMLM100 PHOTOGRAPHY
INTRODUCTION TO
MDC
MG1MDCMLM100 DRAWING
3 4 2 2 0
BASIC PHOTOGRAPHY MDC
MG1MDCMLM101

Semester: 2

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O
FUNDAMENTALS OF
DSC-A 4 5 0 3 2 0
MG2DSCMLM100 VIDEOGRAPHY

RASTER GRAPHICS MDC

MG2MDCMLM100
INTRODUCTION TO
MDC 3 4 2 2 0
MG2MDCMLM101 VIDEOGRAPHY

INTRODUCTION TO MUSIC MDC

MG2MDCMLM102

Page 8 of 282
 Semester: 3

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O
UNDERSTANDING FICTION DSC-A 4 4 4 0 0 0
MG3DSCMLM200
MEDIA AND ACTOR DSC-A 4 5 0 3 2 0
MG3DSCMLM201
ART AND SCIENCE OF
LIGHTS (Cinematography
MG3DSEMLM200 Specialization)
DSE 4 5 0 3 2 0
INTRODUCTION TO
DIRECTION (Film Making
MG3DSEMLM201 Specialization)
BASIC LIGHTING
DSC-B 4 5 0 3 2 0
MG3DSCMLM202 TECHNIQUES
SET DESIGN MDC 3 3 0 3 0 0
MG3MDCMLM200
ENVIRONMENTAL
VAC 3 3 0 3 0 0
MG3VACMLM200 FILMMAKING

Semester: 4

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O

UNDERSTANDING ART DSC-A 4 4 4 0 0 0

MG4DSCMLM200

PRODUCTION DESIGN - I DSC-A 4 5 0 3 2 0

MG4DSCMLM201
MULTICAM SETUPS
(Cinematography
MG4DSEMLM200 Specialization) DSE 4 5 0 3 2 0
SOUND DESIGN FOR FILM
MG4DSEMLM201 (Film Making Specialization)
CHROMA KEYING
DSC-C 4 5 0 3 2 0
MG4DSCMLM202 CREATIONS

BASICS OF ACTING
MG4SECMLM200
SEC 3 3 0 3 0 0
BASICS OF DIGITAL DATA
MG4SECMLM201

PHOTOJOURNALISM VAC 3 3 0 3 0 0
MG4VACMLM200

INTERNSHIP
MG4INTMLM200

Page 9 of 282
 Semester: 5

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O

GROWTH OF CINEMA DSC-A 4 4 4 0 0 0

MG5DSC MLM300
0 3 2 0
PRODUCTION DESIGN - II DSC-A 4 5
MG5DSCMLM301
INTRODUCTION TO 0 3 2 0
DSC-A 4 5
MG5DSCMLM302 VISUAL EFFECTS
SCRIPT WRITING FOR
VARIOUS MEDIA (Film
MG5DSEMLM300 Making Specialization)
ADVANCED DSE 4 4 0 3 0 1
VIDEOGRAPHY
(Cinematography
MG5DSEMLM301 Specialization)
DIALOGUE EDITING (Film
MG5DSEMLM302 Making Specialization)
IMAGE ENHANCEMENT
AND FASHION DSE 4 4 0 3 0 1
PHOTOGRAPHY
(Cinematography
MG5DSEMLM303 Specialization)

CAPTURING MINIATURE SEC 3 3 0 3 0 0

MG5SECMLM300

Page 10 of 282
 Semester: 6

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O

FILM APPRECIATION DSC-A 4 4 3 0 2 0

MG6DSCMLM300
VISUAL AESTHETICS OF
DSC-A 4 5 0 3 2 0
MG6DSCMLM301 FILM MAKING
SHAPING THE FORM AND
CONTENT FOR FILM (Film
MG6DSEMLM300 Making Specialization)
THE ART OF GRAY SCALE: DSE 4 5 0 3 2 0
EXPLORING MONOCHROME
PHOTO (Cinematography
MG6DSEMLM301 Specialization)
MASTERING DIRECTORIAL
CRAFT (Film Making
MG6DSEMLM302 Specialization)
DSE 4 5 0 3 2 0
VISUAL STORY CREATION
(Cinematography
MG6DSEMLM303 Specialization)

PHOTO DOCUMENTARY SEC 3 3 0 3 0 0

MG6SECMLM300
FILM CERTIFICATION
VAC 3 3 0 3 0 0
MG6VACMLM300 PROCESS

Page 11 of 282
 Semester: 7

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O

MEDIA ETHICS DCC 4 4 4 0 0 0

MG7DCCMLM400
ANALYSING THE FILM
DCC 4 4 0 4 0 0
MG7DCCMLM401 MAKING PROCESS
ART AND CRAFT FOR FILM
DCC 4 5 0 3 2 0
MG7DCCMLM402 MAKING

MOOD LIGHTING
MG7DCEMLM400
DCE 4 4 0 4 0 0
MISE-EN-SCENE
MG7DCEMLM401

MUSIC VIDEO PRODUCTION

MG7DCEMLM402
DCE 4 4 0 4 0 0
PRODUCT VIDEO MAKING
MG7DCEMLM403

MEDIA MANAGEMENT
MG7DCEMLM404
DCE 4 4 0 4 0 0
RESEARCH METHODOLOGY
MG7DCEMLM405

Semester: 8

Course Title of the Course Type of Credit Hours /

Code the week Hour Distribution
Course /week

L T P O
VISUAL ENHANCEMENT
DCC 4 5 0 3 2 0
MG8DCCMLM400 TECHNIQUES
TECHNICAL COMPONENTS
DCC 4 5 0 3 2 0
MG8DCCMLM401 OF FILMMAKING
HONOURS PROJECT /
PRJ 12
MG8PRJMLM400 HONOURS WITH RESEARCH
TRUTH-TELLING
DCE 4 5 0 3 2 0
MG8DCEMLM400 STORYTELLING
PRODUCT BRANDING
DCE 4 5 0 3 2 0
MG8DCEMLM401 PRESENTATION
MARKETING FILMS:
CRAFTING CAMPAIGNS ON DCE 4 5 0 3 2 0
MG8DCEMLM402 SCREEN
PROJECT
MG8PRJMLM400 PRJ 12

Page 12 of 282
SEMESTER - I

Page 13 of 282
 Mahatma Gandhi University
Kottayam

FOUNDATION PHOTOGRAPHY

Programme BA (HONS) MULTIMEDIA

Course Name FOUNDATION PHOTOGRAPHY

Type of
DSC-A
Course

Course Code MG1DSCMLM100

Course Level 100-199

This photography course covers light, historical developments, various

cameras, technical mastery (aperture, shutter speed, ISO, sensors),
Course composition rules, and advanced visual arts topics like image magnification,
Summary visual communication, composition, angles, tone, colour, and scene
construction with multiple characters.

Semester I Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 14 of 282
COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Describe how technological progress has

transformed photography, altering methods, K, U 3
1 accessibility, and creative possibilities in capturing
images.
Explain the control of aperture, shutter speed, ISO,
and exposure to achieve well-exposed, visually U, A 2
2 appealing photos

Apply mastery of visual elements, angles,

perspectives, and framing to create compelling and U, A, An 3, 4
3 well-crafted photographic images

Analyse visual storytelling techniques to use image

sizes, angles, composition, tone, and colour for U, A, An, S 4,6
4 effective narrative and emotional communication.

Evaluate scene construction competence,

demonstrating proficiency in blocking, spatial E, C, S 4,7,8
5 arrangement, and dynamics for compelling
storytelling with multiple characters

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Photography

Definition of light, Informative and

1.1 Creative Photography, 2 1

Brief history and development of

1 photography. Different types of still-
1.2 film cameras and its usage. 2 1

Page 15 of 282
 History and Development of Digital
Still Cameras & Mirrorless Camera.
1.3 3 1

Camera Operations

Aperture, Shutter Speed.

Manipulation of shutter speeds and f-
2.1 stop/t-stop, The types and size of 3 2
camera sensors.

Image Formation, ISO setting.

2.2 Exposure setting…etc. 3 2

Exposure compensation, Exposure

2.3 Latitude 4 2
2

Filters. Lens: Basic Structures of lens,

Block lens and Zoom lens. Focal
2.4 length, Depth of field and Depth of 4 2
focus.

Colour Temperature
Camera Settings: Manual mode,
2.5 4 2
Aperture priority, Shutter Priority.

Composition Methods

Composition: Composition rules,

Lines and Shapes,
3.1 5 2

Textures and Patterns, Perspectives

3.2 4 2

3
Framing subjects, Abstract, Pixels,
3.3 Resolution. 4 3

18% Gray (Middle Gray), Subject

3.4 Observation. 4 3

Visual Storytelling

4 4.1 Image Magnification 3 4

Page 16 of 282
 Visual Communication through
4.2 composition 5 4

4.3 Angles, Tone, Colour aspects. 5 4

Basic grammar of Blocking – scene

4.4 construction with more than two 20 5

characters.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Lectures and Presentations- Traditional classroom-style lectures to cover
theoretical aspects such as the history of photography, technical details
like camera settings and image formation, and composition principles.
● Hands-On Workshops- Practical sessions where students engage with
cameras, lenses, and settings to apply theoretical knowledge practically.
This involves exercises on aperture, shutter speed, and composition
techniques.
Teaching and
● Demonstrations and Visual Aids- Use of visual aids such as diagrams,
Learning
videos, and demonstrations to explain complex concepts like exposure
Approach compensation, lens structures, and image magnification.

● Field Trips and Photo Walks- Taking students out to real-world settings
to practise photography techniques learned in class, focusing on different
lighting conditions, compositions, and subjects.

● Group Projects and Critiques- Assign group projects focusing on specific

aspects like composition or storytelling, followed by critique sessions
where students analyse and discuss each other's work, fostering a
collaborative learning environment.

MODE OF ASSESSMENT
A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment • Assignments, Seminars …etc

Types • Model Project Presentation

*Please refer B. Semester End Examination

appendix for
more details Project evaluation and Viva-Voce centred on visual storytelling for 70
marks.

• Story & Shooting script – 20 Marks

• Project – 40 Marks
• Viva-Voce – 10 Marks

Page 17 of 282
References

1. Allen, E., & Triantaphillidou, S. (2009). The manual of photography. Focal Press.

2. Block, B. A. (2008). The visual story. Focal Press.

3. Brown, B. (1995). Motion picture and video lighting. Focal Press.

4. Katz, S. D. (1991). Shot by shot. Michael Weise Production.

5. Langford, M. (2007). Basic photography. Elsevier Ltd.

6. Mascelli, J. V. (1998). Five C’s of cinematography. Silman-James Press.

7. Mercado, G. (2011). The filmmaker’s eye. Focal Press/Elsevier.

8. O’Brien, M. F., & Sibley, N. (1988). The photographic eye: Learning to see with a camera. Davis
Publications.

9. Stump, D. S. (2014). Digital cinematography. Focal Press.

10. U.S. Navy. (1988). Photography (Basic) - US Navy course. Naval Education & Training
Programme.

Page 18 of 282
 Mahatma Gandhi University
Kottayam

INTRODUCTION TO DRAWING

Programme

Course Name INTRODUCTION TO DRAWING

Type of
MDC
Course

Course Code MG1MDCMLM100

Course Level 100-199

Introduction to drawing is intended to provide the student a basic

Course understanding of drawing techniques. Students develop a basic skill in
Summary drawing through various exercises.

Semester I Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
2 1 60

Pre-requisites,
if any

Page 19 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Remember the foundational elements of drawing,

1 K 1
including line, shape, form, and perspective

Remember the foundational elements of drawing,

2 U 2
including line, shape, form, and perspective.

Apply drawing techniques to accurately represent

objects, spaces, and figures and utilise shading and
3 A 2
rendering techniques to create depth and volume in
drawings.

Analyse drawings to identify style, technique, and

4 expression elements and break down complex subjects An 2
into basic shapes and forms for accurate representation.

Evaluate drawings based on technical skill, composition,

5 E 5
and expressive qualities.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transactions (Units)

Module Units Course description Hrs CO No.

Introduction to Drawing

1.1 Introduction to drawing fundamentals - 3 1

Drawing lines, curves and shapes

1.2 Basic Shapes and Forms, Rendering 3D 3 2,3

1 forms

1.3 Shading and shadows- Types of shadows 3 3

Drawing still life.

Page 20 of 282
 Perspective Drawing

2.1 Vanishing point and orthogonal lines - 3 4

Single point perspective

2.2 Overlapping and intersection - Two-point 3 4

perspective - Overlapping and intersection
2 in two-point perspective

2.3 Three-point perspective – Foreshortening. 4 4,6

2.4 Multi-point perspective 3 4

Figure Drawing

3.1 Figure drawing - Proportions of the male 3 2,3

and female

3.2 Human skeletal system - Skull 4 2,5

3
3.3 Drawing a human model 4 5

3.4 Hand and leg bones - Contour Drawing 4 2,5

and Gesture Drawing.

Sketching for Storyboard

4.1 Drawing Camera angles and types of shots 3 4

4 4.2 Character detailing and different views 10 4

(0º, 90 º, 180 º, 45 º, 120 º)

4.3 Sketching a shot incorporating characters, 10 5

background, costumes and properties

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching and ● Classroom Lectures: Provide foundational knowledge through
Learning engaging presentations and real-world examples, fostering a
Approach theoretical understanding and practical application of key news
concepts for a Comprehensive learning experience. The approach

Page 21 of 282
 combines didactic instruction with interactive discussions, promoting
active participation and critical thinking

● Hands-On Workshops - Practical sessions where students acquire

basic knowledge of drawing and enhance their drawing skills through
guided sessions.

● Demonstrations and Visual Aids - Use of live step by step

demonstrations and using visual aids to facilitate inclusive learning.

● Field Trips and Live sketching- Taking students out to real-world

settings to practise live sketching skills to enable them to focus on
different lighting conditions, compositions, and subjects.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 25 marks

Assessment
• Assignments, Classroom exercises, Live Sketches etc.
Types
• Mini Project

B. Semester End examination

*Please refer
appendix for Project evaluation and Viva-Voce centered on basic drawing skills for 50
more details marks.

• Project evaluation – 40 Marks

• Viva-Voce - 10 Marks

References

1. Bridgman, G. B. (1973). Constructive anatomy. Dover Publications.

2. Dodson, B. (1990). Keys to drawing. North Light Books.
3. Dodson, B. (1993). Drawing with imagination: Techniques for transforming your sketches into
works of art. North Light Books.
4. Edwards, B. (2012). Drawing on the right side of the brain: The definitive, 4th edition.
TarcherPerigee.
5. Hamm, J. (1983). Drawing the head and figure. Perigee Books.
6. Lohan, F. (2011). The drawing handbook. The Overlook Press.
7. Mendelowitz, D. M., Wakeham, D., & Faber, J. (2007). A guide to drawing. Cengage Learning.
8. Nicolaides, K. (1990). The natural way to draw: A working plan for art study. Houghton Mifflin
Harcourt.
9. Noble, F. (2016). Beginner’s guide to life drawing. Search Press.
10. Rockman, D. (2000). Drawing essentials: A complete guide to drawing. Oxford University Press

Page 22 of 282
 Mahatma Gandhi University
Kottayam

BASIC PHOTOGRAPHY

Programme

Course Name BASIC PHOTOGRAPHY

Type of
MDC
Course

Course Code MG1MDCMLM101

Course Level 100-199

This photography course covers light, historical developments, various

cameras, technical mastery (aperture, shutter speed, ISO, sensors),
Course composition rules, and advanced visual arts topics like image magnification,
Summary visual communication, composition, angles, tone, colour, and scene
construction with multiple characters.

Semester I Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
2 1 60

Pre-requisites,
if any

Page 23 of 282
COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Describe how technological progress has

transformed photography, altering methods, K, U
1 accessibility, and creative possibilities in capturing 3
images.
Explain the control of aperture, shutter speed, ISO,
2 and exposure to achieve well-exposed, visually U, A
2
appealing photos
Apply mastery of visual elements, angles,
3 perspectives, and framing to create compelling and U, A, An
3, 4
well-crafted photographic images
Analyse visual storytelling techniques to use image
4 sizes, angles, composition, tone, and colour for U, A, An, S
4,6
effective narrative and emotional communication.
Evaluate scene construction competence,
demonstrating proficiency in blocking, spatial E, C, S
5 arrangement, and dynamics for compelling 4,7,8
storytelling with multiple characters

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to photography

1.1 Definition of light, Informative and 4 1

Creative Photography,

Brief history and development of

1 1.2 photography. Different types of 4 1
still-film cameras and its usage.

History and Development of Digital

1.3 Still Cameras & Mirrorless Camera. 3 1

Camera Operations

2.1 Aperture, Shutter Speed.

2 Manipulation of shutter speeds and f-
stop/t-stop, The types and size of 5 2
camera sensors.

Page 24 of 282
 2.2 Image Formation, ISO setting.
4 2
Exposure setting…etc.

2.3 Exposure compensation, Exposure

6 2
Latitude

2.4 Filters. Lens: Basic Structures of

lens, Block lens and Zoom lens. 2
6
Focal length, Depth of field and
Depth of focus.

Composition Methods
3.1 Composition: Composition rules,
3 2
Lines and Shapes,

3 3.2 Textures and Patterns, Perspectives 4 2

3.3 Framing subjects, Abstract, Pixels,

5 3
Resolution.

Visual Storytelling

4.1
Image Magnification 4 4

4.2 Visual Communication through

4 4
4 composition

4.3 Angles, Tone, Colour aspects. 3 4

4.4 Photo walks 5 4

5 TEACHER SPECIFIC MODULE

Page 25 of 282
 Classroom Procedure (Mode of transaction)
● Lectures and Presentations- Traditional classroom-style lectures to cover
theoretical aspects such as the history of photography, technical details
like camera settings and image formation, and composition principles.
● Hands-On Workshops- Practical sessions where students engage with
cameras, lenses, and settings to apply theoretical knowledge practically.
This involves exercises on aperture, shutter speed, and composition
techniques.
Teaching and
● Demonstrations and Visual Aids- Use of visual aids such as diagrams,
Learning
videos, and demonstrations to explain complex concepts like exposure
Approach compensation, lens structures, and image magnification.

● Field Trips and Photo Walks- Taking students out to real-world settings
to practise photography techniques learned in class, focusing on different
lighting conditions, compositions, and subjects.

● Group Projects and Critiques- Assign group projects focusing on specific

aspects like composition or storytelling, followed by critique sessions
where students analyse and discuss each other's work, fostering a
collaborative learning environment.

MODE OF ASSESSMENT
A. Continuous Comprehensive Assessment (CCA) 25 marks

• Assignments, Class exercises …etc -

Assessment
• Model Project Presentation -
Types
B. Semester End examination
*Please refer
appendix for Project evaluation and Viva-Voce centered on visual storytelling for 50
more details marks.

• Story & Shooting script – 10 Marks

• Project – 30 Marks
• Viva-Voce – 10 Marks

References

1. Allen, E., & Triantaphillidou, S. (2009). The manual of photography. Focal Press.
2. Block, B. A. (2008). The visual story. Focal Press.
3. Brown, B. (1995). Motion picture and video lighting. Focal Press.
4. Katz, S. D. (1991). Shot by shot. Michael Weise Production.
5. Langford, M. (2007). Basic photography. Elsevier Ltd.
6. Mascelli, J. V. (1998). Five C’s of cinematography. Silman-James Press.
7. Mercado, G. (2011). The filmmaker’s eye. Focal Press/Elsevier.
8. O’Brien, M. F., & Sibley, N. (1988). The photographic eye: Learning to see with a camera. Davis
Publications.
9. Stump, D. S. (2014). Digital cinematography. Focal Press.
10. U.S. Navy. (1988). Photography (Basic) - US Navy course. Naval Education & Training
Programme.

Page 26 of 282
SEMESTER - II

Page 27 of 282
 Mahatma Gandhi University
Kottayam

FUNDAMENTALS OF VIDEOGRAPHY

Programme BA (HONS) MULTIMEDIA

FUNDAMENTALS OF VIDEOGRAPHY
Course Name

Type of
DSC-A
Course

Course Code MG2DSCMLM100

Course Level 100-199

This videography course comprises four modules covering cinematic

history, technical aspects, and practical skills. Beginning with the historical
origins of cinema, it progresses to basic video camera features, shot
Course
terminology, camera operations, and lighting techniques. Through a 10-shot
Summary
production exercise, students gain a comprehensive understanding of
cinematography essential for filmmaking.

Semester II Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 28 of 282
COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Identify the components of a video camera (sensor,

1 lens, viewfinder, etc.). K, U 3

Demonstrate mastery in video production

essentials: frame rate, aspect ratio, resolution, U, A 2
2 analogue/digital formats, and standards (NTSC,
PAL, SECAM).
Utilize camera settings and controls to achieve
3 desired visual effects. U, A, An 4, 7

Examine the elements of a well-composed shot

4 and evaluate different techniques used in U, A, An, S 3, 4
videography
Master camera operations, movement (zoom, pan,
5 tilt), grasp lighting principles, and enhance visual C, S 7, 9
quality using reflectors effectively.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Development of Videography

Origin of Cinema - Early attempts to

1.1 capture/perceive motion 2 1

Pioneers of early experiments in capturing

1.2 2 1
1 motion - Eadweard Muybridge.

Persistence of Vision, Phi Phenomenon.

1.3 Frame Rate, Aspect Ratio and Resolution, 2 1
Analogue and Digital Format. NTSC, PAL &
SECAM.

Camera & Imaging Process

Birth of ‘Cinematographe’ - Lumiere brothers and

2 2.1 Georges Melies, Edwin S Porter, D.W. Griffith. 2 2

Page 29 of 282
 History of early analogue video cameras Tape
2.2 2 2
based systems.

2.3 Basic features of a Video camera 5 2

2.4 Colour Temperature, White Balance 1 2

Shot divisions and Angles

Shots: Basic shot terminology - Extreme Close up,

3.1 2 2
Close up, Mid Close up,

3.2 Medium shot, Mid-long Shot, Long shot, Extreme 2 2

Long shot.
3
3.3 Camera Angles - Point of View - Over the 2 3
shoulder shot

3.4 High Angle shot - Eye level shot - Low angle shot. 2 3

Camera Movements and Lighting Basics

Camera Operations and movements – Zoom - Pan

4.1 8 4
- Tilt.

Introduction to the concept of 180º - Matching of

4.2 10 4
action.
4
Use of Available light – Quality of Light –
4.3 10 4
Character of Light - Use of Reflectors.

4.4 10 shot project with continuity in available lights. 23 5

5 TEACHER SPECIFIC MODULE

Page 30 of 282
 Classroom Procedure (Mode of transaction)
● Lectures and Presentations: Traditional classroom-style lectures can
cover theoretical aspects, historical contexts, and foundational
knowledge, supported by visual aids, slides, and multimedia
presentations to engage students.

● Hands-On Workshops: Practical sessions where students operate

cameras, explore settings, and practice shooting techniques. These
workshops offer experiential learning and skill development in a
Teaching and controlled environment.
Learning
Approach ● Film Screening and Analysis: Screening of excerpts of classic and
contemporary films for study, followed by analysis of the
cinematographic techniques used in these films.

● Practical sessions to understand the quality of available light, practice

using hard reflectors and soft reflectors, and practice techniques for using
artificial light in available light. Analysis and practice of one-point, two-
point, three-point, and four-point, the first basic lighting setup to use
artificial light when shooting indoors.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment • Assignments, Class Works
Types • Model Project Presentation

B. Semester End examination

*Please refer Project evaluation and Viva-Voce centred on 10 shots movie for 70
appendix for marks.
more details • Story & Shooting script – 20 Marks
• Project – 40 Marks
• Viva-Voce – 10 Marks

References

1. Arijon, D. (1991). Grammar of the film language. Silman-James Press.

2. Block, B. A. (2008). The visual story. Focal Press.
3. Brown, B. (1995). Motion picture and video lighting. Focal Press.
4. Dmytryk, E. (1984). On film editing. Focal Press. (Digital Print: 2010).
5. Katz, S. D. (1991). Shot by shot. Michael Weise Production.
6. Mascelli, J. V. (1998). Five C’s of cinematography. Silman-James Press.
7. Mercado, G. (2011). The filmmaker’s eye. Focal Press/Elsevier.
8. Sump, D. (2014). Fundamentals of digital cinematography. Focal Press.
9. Thompson, R., & Bowen, C. (2009). Grammar of the shot. Focal Press.
10. Zakia, R., & Stroebel, L. (1993). The Focal encyclopaedia of photography. Focal Press.

Page 31 of 282
 Mahatma Gandhi University
Kottayam

RASTER GRAPHICS

Programme

RASTER GRAPHICS
Course Name

Type of
MDC
Course

Course Code MG2MDCMLM100

Course Level 100-199

This beginner-level course in raster graphics provides a comprehensive

introduction to the essential concepts, tools, and techniques required for
Course working with raster-based images. Throughout the three modules, students
Summary will gain a solid foundation in understanding, creating, and manipulating
raster graphics using popular software.

Semester II Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
2 1 60

Pre-requisites,
if any

Page 32 of 282
COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Recall and define fundamental concepts related to

1 raster graphics, including pixels, resolution, colour K 1
modes, file formats and bit depth.

Summarize the differences between raster and vector

2 graphics, demonstrating an understanding of their U 2,3
unique characteristics and applications.

Apply basic image editing techniques using raster

3 graphics software, such as cropping, resizing, and A 2
rotating images.

Evaluate the effectiveness of retouching and

4 restoration techniques in improving the quality of E 4, 5
images.

Execute practical projects, demonstrating the

5 integration of learned concepts and techniques into C 4, 5
real-world applications.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Raster Graphics

Definition of raster graphics, Comparison with
vector graphics, Common applications of
raster graphics,
Pixel and Resolution: Understanding pixels
1 1.1 and their role 5 1
Resolution and its impact on image quality

Page 33 of 282
 Colour Modes and Bit Depth:
Explanation of RGB and CMYK colour
modes
Introduction to grayscale
Bit depth and its influence on colour
1.2 representation 5 1
Image File Formats: Overview of common
raster image formats (JPEG, PNG, GIF, TIFF)
Advantages and disadvantages of each format
Choosing the appropriate format for different
scenarios

Raster Graphics Software and Tools

Introduction to Raster Graphics Software:

Overview of popular raster graphics software
Understanding the user interface and basic
features
2.1 Basic Image Editing: Tools for cropping, 8 1,2
resizing, and rotating images, Understanding
layers and their significance, Introduction to
basic image adjustments (brightness, contrast,
2 saturation)

Selection and Masking: Selection tools and

techniques, Masking for precise editing, Layer
masks and their applications
2.2 Filters and Effects: Exploring filters for 6 1,2
creative effects, Applying special effects to
enhance images, Understanding the impact of
filters on image quality.

Techniques in Raster Graphics

Text and Typography: Adding and formatting

text in raster graphics, Incorporating
typography into designs, Creating text effects
and stylized fonts
3.1 8 3
Retouching and Restoration: Retouching
imperfections in images, Restoring old or
3 damaged photographs, Techniques for
blemish removal and skin retouching.

Compositing and Collage: Combining

multiple images into a cohesive composition,
3.2 8 3
Layer blending modes and their effects,
Creating photo collages and digital art
Making Posters for print & Digital Media
4.1 Create a design that is responsive and 10 3,5
4 adaptable to various screen sizes.
Creating posters, flyers, brochures, and other
4.2 print materials. 10 3,5

5 TEACHER SPECIFIC MODULE

Page 34 of 282
 Classroom Procedure (Mode of transaction)
● Integrate hands-on learning experiences and practical exercises
throughout the course. Encourage students to actively apply concepts
through guided projects, allowing them to reinforce their understanding
Teaching and
of raster graphics tools and techniques.
Learning
● Guide students through the essential features and functionalities of
Approach
raster graphics software, ensuring they are comfortable navigating and
utilizing the tools.
● Assign a hands-on project that allows participants to apply concepts
learned.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 25 marks

Assessment
Types • Assignments& class works
• Internal examinations
*Please refer
appendix for B. Semester End examination

more details • Practical Examination (4 hours) - 50 marks

References

1. Chan, M. (2015). Understanding digital images: A guide to digital imaging. Graphic Arts
Publishing.
2. Cohen, J. (2019). Digital image basics: An introduction to raster graphics. Visual Arts Press.
3. Crampton, T. (2014). Raster graphics essentials: The foundation of digital art. Pixel Publishing.
4. Davis, J. (2018). The art of pixels: A comprehensive guide to raster graphics. Creative Media Press.
5. Garcia, L. (2019). Pixels and colours: A primer on raster graphics. Graphic Design Books.
6. Hall, P. (2017). Raster imaging and digital design principles. Visual Insights.
7. Kaur, S. (2020). Raster art fundamentals: Techniques for digital imagery. Digital Design Press.
8. Moore, R. (2016). The elements of raster graphics: A visual approach. Design Essentials.
9. Smith, J. (2020). Raster graphics 101: A beginner's guide. Pixel Press.
10. Turner, M. (2021). Mastering raster: A comprehensive guide for beginners. Design Hub.

Page 35 of 282
INTRODUCTION TO VIDEOGRAPHY

Mahatma Gandhi University

Kottayam

Programme

Course Name INTRODUCTION TO VIDEOGRAPHY

Type of
MDC
Course

Course Code MG2MDCMLM101

Course Level 100-199

This videography course comprises four modules covering cinematic

history, technical aspects, and practical skills. Beginning with the historical
Course
origins of cinema, it progresses to basic video camera features, shot
Summary
terminology, camera operations, and lighting techniques.

Semester II Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
2 1 60

Pre-requisites,
if any

Page 36 of 282
COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Identify the components of a video camera (sensor, lens,

1 K, U 3
viewfinder, etc.).

Demonstrate mastery in video production essentials: frame

2 rate, aspect ratio, resolution, analogue/digital formats, and U, A 2
standards (NTSC, PAL, SECAM).

Utilize camera settings and controls to achieve desired visual

3 U, A, An 4, 7
effects.

Compose a shot and evaluate different techniques used in

4 U, A, An, S 3, 4
videography

Master camera operations and camera movement (zoom,

5 C, S 7, 9
pan, tilt)

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Development of Videography

1.1 Origin of Cinema - Early attempts to 3 1

capture/perceive motion

1.2 Pioneers of early experiments in capturing 3 1

motion - Eadweard Muybridge.

1 Persistence of Vision, Phi Phenomenon.

Frame Rate, Aspect Ratio and Resolution,
Analogue and Digital Format. NTSC, PAL &
1.3 4 1
SECAM.

Camera & Imaging Process

Page 37 of 282
 2.1 Birth of ‘Cinematographe’ - Lumiere brothers and 3 2
Georges Melies, Edwin S Porter, D.W. Griffith.
2
2.2 Basic features of a Video camera 4 2

2.3 Colour Temperature, White Balance 3 2

Shot divisions and Angles

3.1 Shots: Basic shot terminology - Extreme Close up, 3 2

Close up, Mid Close up,

3.2 Medium shot, Mid-long Shot, Long shot, Extreme 3 2

Long shot.
3
3.3 Camera Angles - Point of View - Over the 2 3
shoulder shot

3.4 High Angle shot - Eye level shot - Low angle shot. 2 3

Camera Movements and Lighting Basics

4.1 Camera Operations and movements – Zoom - Pan 5 4

- Tilt.

4.2 Introduction to the concept of 180º - Matching of 7 4

action.
4
4.3 Use of Available light – Quality of Light – 8 4
Character of Light - Use of Reflectors.

4.4 Continuity exercises in available lights. 10 5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Lectures and Presentations: Traditional classroom-style lectures can cover

Teaching theoretical aspects, historical contexts, and foundational knowledge,
and supported by visual aids, slides, and multimedia presentations to engage
Learning students.
Approach
● Hands-On Workshops: Practical sessions where students operate cameras,
explore settings, and practice shooting techniques. These workshops offer
experiential learning and skill development in a controlled environment.

Page 38 of 282
 ● Practical sessions to understand the quality of available light, practice using
hard reflectors and soft reflectors, and practice techniques for using artificial
light in available light. Analysis and practice of one-point, two-point, three-
point, and four-point, the first basic lighting setup to use artificial light when
shooting indoors.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) – 25 Marks
Types
• Assignments, Class Works

B. Semester End examination

*Please refer
appendix for Project evaluation and Viva-Voce for 50 marks.
more details • Project – 40 Marks
• Viva-Voce – 10 Marks

References

1. Arijon, D. (1991). Grammar of the film language. Silman-James Press.

2. Block, B. A. (2008). The visual story. Focal Press.
3. Brown, B. (1995). Motion picture and video lighting. Focal Press.
4. Dmytryk, E. (1984). On film editing. Focal Press. (Digital Print: 2010).
5. Katz, S. D. (1991). Shot by shot. Michael Weise Production.
6. Mascelli, J. V. (1998). Five C’s of cinematography. Silman-James Press.
7. Mercado, G. (2011). The filmmaker’s eye. Focal Press/Elsevier.
8. Sump, D. (2014). Fundamentals of digital cinematography. Focal Press.
9. Thompson, R., & Bowen, C. (2009). Grammar of the shot. Focal Press.
10. Zakia, R., & Stroebel, L. (1993). The Focal encyclopedia of photography. Focal Press.

Page 39 of 282
INTRODUCTION TO MUSIC

Mahatma Gandhi University

Kottayam

Programme

Course Name INTRODUCTION TO MUSIC

Type of
MDC
Course

Course Code MG2MDCMLM102

Course Level 100-199

Explore fundamental musical concepts, instrument characteristics, and

classical traditions in Western, Carnatic, and Hindustani music. Dive into
the evolution of 20th and 21st-century music, with a focus on Indian Film
Course Music. Develop practical skills in creating Background Music using Digital
Summary Samplers and Sound Editing techniques. This course aims to provide a
concise yet comprehensive understanding of diverse musical elements,
traditions, and practical applications in contemporary music production

Semester II Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
2 1 60

Pre-requisites,
if any

Page 40 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Demonstrate a clear understanding of fundamental musical

concepts and analyse the distinct characteristics of musical U,An 1,2,10
instruments

2 Understanding of Western classical music, Carnatic Music,

and Hindustani Music, including the structure, content, U 1,2,10
instrumentation, and prominent composers in each tradition.

3 Develop a comprehensive understanding of the evolution and

U 1,2,10
characteristics of 20th and 21st-century music genres

4 Cultivate an appreciation for the diversity and cultural

Ap, 1,2,10
significance of Indian Film Music

5 Acquire practical skills in creating Background Music through

Incidental and Ambient music, utilizing Digital Samplers, S 1,2,10
Sound Editing, sequencing, and programming techniques.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Basic Concepts in Music

Basic concepts in music – pitch, melody, harmony,

1.1 5 1
rhythm, Scale.

Types of musical instruments – string, wind,

1.2 5 1
percussion and electronic instruments.

Introduction to Western, Carnatic and Hindustani classical music

Page 41 of 282
 Introduction to Western classical music- orchestra,
instrumentation. Form – song, concerto, symphony,
2.1 sonata, opera, dance, music. Prominent composers – 5 2
Bach, Vivaldi, Mozart, Beethovan, Rossini, Chopin,
Brahms, Tchaikovsky etc.

Introduction to Carnatic Music – Sruti, Swara, Raga,

2 Tala, Varnam, Kriti, Katcheri – Structure, Content and
2.2 Instrumentation. Prominent composers –Purandara 8 2
Dasa, Muthuswami Dikshitar, SyamaSastri,
SwathiThirunal etc

Introduction to Hindustani Music – Alap, Bandish.

2.3 Types of compositions –dhrupad, khyal and tarana 7 2
instrumentation.

Exploring the Evolution of Music

20th and 21st century music – Jazz, country music,

3.1 5 3
rock and roll, blues and heavy metal

3 3.2 Indian Film Music – Hindi. 5 4

3.3 Indian Film Music – Malayalam 5 5

3.4 Indian Film Music – Tamil. 5 5

Background Music – Incidental music, Ambient

4.1 music, Music Design, Musical Functions, Instrument 5 5
4 Types,

Digital Samplers, Sound Editing

4.2 5 5
sequencing/programming.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Lecturing With Visual Aid Integration: Traditional Lecturing with Visual

Aids (Slides, Diagrams, Multimedia) For Enhanced Comprehension.

Teaching ● Student Seminars and Presentations With Multimedia Integration: Student-

and Led Presentations Incorporating Multimedia Elements For Effective
Learning Communication.
Approach
● Hands-On Demonstration with Musical Instruments (Engage students in a
practical session with various musical instruments to reinforce understanding

● Listening Session (Engage students in focused listening sessions to various

musical pieces that exemplify the basic concepts discussed)

Page 42 of 282
 MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 25 marks

Assessment
• Assignments, seminars, written examinations in class etc..
Types
• Listening test, Viva
*Please refer
appendix for
more details B. Semester End examination

• Practical Exam - 40 Marks

• Viva – voce – 10 Marks

References

1. Benjamin, T., & Horvit, M. (2016). Music for Sight Singing. Cengage Learning.
2. Gauldin, R. (2004). Harmonic Practice in Tonal Music. W.W. Norton & Company.
3. Gupta, A. (2021). Soundscapes: Understanding the Elements of Music. (Publisher.)
4. Johnson, E. (2018). Exploring Classical Music: An Introduction to Western Composers. (Publisher.)
5. Kaufmann, W. (1965). Musical Notation: A Manual of Modern Practice. G. Schirmer, Inc.
6. Kostka, S., Payne, D., & Almén, B. (2018). Tonal Harmony. McGraw-Hill Education.
7. Patel, R. (2019). Carnatic Music Essentials: Structure and Instrumentation. (Publisher.)
8. Prasad, S. (2017). Introduction to Raga Sangeet. Rupayan Sansthan.
9. Radhakrishnan, S. (1999). Indian Philosophy (2-Volume Set). Oxford University Press.
10. Shankar, R. (1999). Raga Mala: The Autobiography of Ravi Shankar. Welcome Rain Publishers.

Page 43 of 282
SEMESTER - III

Page 44 of 282
UNDERSTANDING FICTION

Mahatma Gandhi University

Kottayam

Programme BA (HONORS) MULTIMEDIA

Course Name UNDERSTANDING FICTION

Type of
DSC-A
Course

Course Code MG3DSCMLM200

Course Level 200-299

This course immerses students in the art of storytelling, covering narrative

techniques, plot development, and literary theory. Through modules on
classification of narrative techniques, theoretical aspects of literature,
Course
scriptwriting skills, and exploration of classical works, students gain a
Summary
holistic understanding of fiction writing, incorporating cultural elements for
nuanced storytelling.

Semester III Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 0 0 60

Pre-requisites,
if any

Page 45 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Use various types and styles of narrative techniques used in

U,A 1
the development of plot.

2 Explain the theoretical aspects used in various genres of

U,An 3
literature.

3 Versify and use language for scriptwriting using various

An 3,4
literary devices.

4 Write and convey stories with the knowledge of the gamut of

En 4,6
classics across the world.

5 Make fictional writing that incorporates discourse and

C 6,7,10
structure unique to a culture.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Narrative Techniques and Plot Development

Classification of narrative techniques -

1.1 various types and styles of narrative 3 1
techniques - plot development

Key elements of plot- structure of plots in

1 1.2 3 1
different genres

Developing a short story using a

1.3 3 3
combination of narrative techniques

Page 46 of 282
 Theoretical Aspects in Literature

Introduction to literary genres -theoretical

2.1 4 3
aspects of various genres

Literary movements and their impact on

2.2 fiction - classic works representing 4 3
specific movements.
2
Role of theory in interpreting literature -
2.3 Comparative analysis of critical 4 3,4
perspectives.

In-depth analysis - Presentations on

2.4 5 3,4
theoretical perspectives and findings.

Versification and Scriptwriting

Literary devices and their application in

3.1 fiction - Exploring dialogue, character 5 4
development, and setting.

Language and style in script writing -

3
3.2 Techniques for crafting compelling 5 3,4
dialogues and narratives.

Adapting fiction to scripts – techniques -

3.3 5 4
study on selected adapted scripts

Classics and Cultural Elements in Fiction

Classical works from different literary

4 4.1 traditions - analysing the cultural and 5 5
historical contexts of selected classics

Page 47 of 282
 Understanding the narrative structures of
4.2 classics - Comparing storytelling 4 4
traditions across different cultures

Cultural discourse in fiction -Creating

4.3 fictional works that incorporate unique 5 5
cultural structures

Developing a fictional piece that

4.4 5 5
integrates global perspectives.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: A hands-on approach is essential, integrating

theoretical knowledge with practical exercises to cultivate skills in
storytelling, performance, and production techniques and fostering creativity
and critical thinking among students through collaborative projects

● Interactive Discussions: Encourage active engagement and deeper

understanding by fostering dialogue, sharing diverse perspectives, and
encouraging critical analysis, enriching the learning experience and
Teaching
promoting collaboration and peer learning in exploring complex topics and
and
challenging assumptions.
Learning
Approach ● PowerPoint presentations: Offer visual aids to enhance comprehension of
key concepts and facilitate structured delivery of course material, engaging
students with multimedia content while reinforcing learning objectives and
encouraging interactive discussions.

● Classroom assignments: Provide opportunities for hands-on application of

theoretical knowledge, fostering creativity and skill development through
practical exercises, role-playing scenarios, and group projects, promoting
active learning and reinforcing course content through experiential
engagement.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments and Classroom works

● Seminars
Page 48 of 282
 B. Semester End examination
Theory Exam for 70 marks
• Part A
Short Answer (5 out of 7) 2 x 5 = 10 Marks
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
• Essay (2 out of 4) 15 x 2 = 30 Marks

References

1. Brown, M. (Ed.). (2018). Narrative art through the ages. Oxford University Press.
2. Daniels, P. T. (1996). The world's writing systems. Oxford University Press.
3. Diringer, D. (1948). The alphabet: A key to the history of mankind. Hutchinson University Library.
4. Graziosi, B. (2002). Inventing Homer: The early reception of epic. Cambridge University Press.
5. Johnson, E. (Ed.). (2015). Narrative art: Selected readings. HarperCollins.
6. McGraw Hill Publication. (n.d.). Encyclopaedia of world art (Vols. 1-2).
7. Powell, B. B. (1991). Homer and the origin of the Greek alphabet. Cambridge University Press.
8. Robinson, A. (2007). The story of writing: Alphabets, hieroglyphs & pictograms. Thames &
Hudson.
9. Ryan, M.-L., & Thon, J.-N. (Eds.). (2014). Narrative across media: The languages of storytelling.
University of Nebraska Press.
10. Smith, J. (2020). The art of storytelling: A comprehensive guide. Penguin Books.

Page 49 of 282
MEDIA AND ACTOR

Mahatma Gandhi University

Kottayam

Programme BA (HONORS) MULTIMEDIA

Course Name MEDIA AND ACTOR

Type of
DSC-A (MAJOR)
Course

Course Code MG3DSCMLM201

Course Level 200-299

The Media and Actor course immerses students in the intersection of media
and acting, blending theory and practice to explore storytelling,
performance, and production. Students analyse historical, cultural, and
social contexts influencing media narratives and theatrical performances,
Course
examining texts, techniques, and ideologies. The course covers media
Summary
studies' theoretical foundations and practical acting methods, emphasizing
character development, narrative structures, and media representation's
power dynamics.

Semester III Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 50 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Understand the interplay of media and acting, shaping U 1,2

narratives and audience perceptions effectively.

2 Understand acting's evolution to contextualize performances C, S 1, 4

historically and culturally through techniques and theories.

3 Analyse Indian classical theatre and Western drama through E, An, S 3, 6

cultural, historical, and aesthetic dimensions.

4 Develop analytical skills to critique plays, understanding E, An, AP 7, 10

character dynamics, themes, and narrative structures.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Media and Acting

Understanding the role of media in society-

1.1 Cultural Influence -Role in Democracy-Media 4 1, 2, 3
Bias-Stereotyping-Media Literacy.

Introduction to various forms of media (film,

1 1.2 television, theatre, etc.) 4 1, 2,3

Basics of acting: expression-body language-

1.3 voice modulation. 4 2, 3

History of Acting

2.1 Introduction to Acting History: Definition of 4 1, 4

acting and its significance in human culture-
Overview of ancient forms of performance

Page 51 of 282
 (Greek, Roman, Asian)-The role of acting in
2
religious rituals and ceremonies

2.2 Classical Acting Traditions: Exploration of 4 1,2,5

classical acting techniques (e.g., Greek
Tragedy, Commedia dell'arte) - Key figures
and practices in classical theatre (e.g.,
Aristotle's Poetics, Shakespearean acting
methods) - Influence of classical acting on
contemporary performance

2.3 18th and 19th Century Acting: Emergence of 5 1,3,4,5

realism in acting and theatre (e.g.,
Stanislavski's System) - Evolution of
melodrama and romantic acting styles -
Theatrical innovations and technological
advancements (e.g., gas lighting, stage
machinery)

2.4 Modern Acting Movements-Method acting- 5 1,4

Brechtian theater)-Acting in the 20th Century-
Evolution of acting for film and television.

Natyashastra and Western Theatre

Introduction to Natya Shastra

Overview of the Natya Shastra: authorship,
historical context, and significance
3.1 Understanding the concept of Natya (drama) and 6 1,4, 5
its components (Nritta, Nritya, Natya)
Key themes and principles outlined in the Natya
Shastra

Theoretical Foundations
3
Exploration of the concept of Rasa (aesthetic
experience) and its classification
3.2 6 4,5
Understanding the nine Rasas (emotional states)
and their representation in performance

Analysis of the eight Sthayi Bhavas (permanent

emotions) and their portrayal

Page 52 of 282
 Angika Abhinaya (Physical Expression)-
Vachika Abhinaya (Verbal Expression)-Aharya
3.3 Abhinaya (Costume and Makeup)-Satvika 5 3, 5
Abhinaya (Emotional Expression)- Musical
Elements.

Introduction to Western Theatre : Overview of

the origins of Western theatre: Ancient Greece
3.4 and Rome-Key characteristics of Greek tragedy 5 3,4,5
and comedy-Introduction to Roman theatre and
its influence

Play Reading

Overview of the elements of drama: plot,

character, theme, setting, and dialogue-
4.1 Introduction to dramatic structure: exposition, 4 1,2,3
rising action, climax, falling action, and
resolution-Techniques for close reading and
textual analysis of plays

Classical Plays: Study of ancient Greek and

Roman dramas: Sophocles, Euripides,
4.2 Aeschylus, and Plautus-Analysis of classical 4 1,2,5
themes, characters, and dramatic conventions-
4 Discussion of the enduring relevance of classical
plays in contemporary theatre

4.3 Modernist Drama-Contemporary Plays-Genre 10 1,2,4,5

Studies-Adaptations and Interpretations

Play Reading and Performance-Practical

workshops on script analysis and character
4.4 development-Script-in-hand readings of 10 1,2,4,5
selected plays with discussion and analysis-
Opportunities for students to participate in
readings and perform excerpts from plays

5 TEACHER SPECIFIC MODULE

Page 53 of 282
 Classroom Procedure (Mode of transaction)

● Classroom Lectures: A hands-on approach is essential, integrating

theoretical knowledge with practical exercises to cultivate skills in
storytelling, performance, and production techniques, fostering creativity
and critical thinking among students through collaborative projects, industry
simulations, and real-world case studies.

● Interactive Discussions: Encourage active engagement and deeper

understanding by fostering dialogue, sharing diverse perspectives, and
encouraging critical analysis, enriching the learning experience and
promoting collaboration and peer learning in exploring complex topics and
Teaching challenging assumptions.
and ● Case Studies: provide practical insights into industry practices, enabling
Learning students to apply theoretical concepts to real-world scenarios, fostering
Approach problem-solving skills and enhancing their understanding of professional
challenges and ethical considerations.

● Power Point presentations: Offer visual aids to enhance comprehension of

key concepts and facilitate structured delivery of course material, engaging
students with multimedia content while reinforcing learning objectives and
encouraging interactive discussions.

● Class room assignments: Provide opportunities for hands-on application of

theoretical knowledge, fostering creativity and skill development through
practical exercises, role-playing scenarios, and group projects, promoting
active learning and reinforcing course content through experiential
engagement

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types • Assignments
• Class exercises

*Please refer B. Semester End examination

appendix for
Practical examination comprises of two parts
more details
• Part A (Sense Memory) – 30 Marks
• Part B (Emotional Memory) - 40 Marks

References

1. Adler, S. (2000). The Art of Acting. Applause Theatre & Cinema Books.
2. Benedetti, J. (2004). Stanislavski: An Introduction. Routledge.
3. Bruder, M., Cohn, L., Olnek, M., Pollack, N., Previto, R., & Zigler, S. (1986). A Practical
Handbook for the Actor. Vintage.
4. Chekhov, M. (2002). To the Actor: On the Technique of Acting. Routledge.
5. Hagen, U., & Frankel, H. (1973). Respect for Acting. Macmillan.
Page 54 of 282
6. Meisner, S., & Longwell, D. (1987). Sanford Meisner on Acting. Vintage.
7. Merlin, B. (2001). Beyond Stanislavsky: The Psycho-Physical Approach to Actor Training. Nick
Hern Books.
8. Stanislavski, C. (1989). An Actor Prepares. Theatre Arts Books.
9. Strasberg, L. (1988). A Dream of Passion: The Development of the Method. Plume.
10. Weston, J. (1996). Directing Actors: Creating Memorable Performances for Film and Television.
Michael Wiese Productions.

Page 55 of 282
 Mahatma Gandhi University
Kottayam

ART AND SCIENCE OF LIGHTS

Programme BA (HONORS) MULTIMEDIA

Course Name ART AND SCIENCE OF LIGHTS

Type of
DSE
Course

Course Code MG3DSEMLM201

Course Level 200-299

This course gives in depth knowledge of light properties and measurement,

external flash techniques, diverse lighting types for various scenarios, and
post-processing methods using image editing software. It provides
Course
comprehensive training on mastering light in photography, from capture to
Summary
post-processing, including RAW conversion and monochrome image
enhancement.

Semester III Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 56 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Understand light properties, manipulate natural/artificial
1 sources, create moods/effects by controlling brightness, K, U & A 1, 2
contrast, and colour temperature effectively.
Apply external flash to manipulate soft/hard light,
2 enhance subjects, sync shutter speed for optimal results. U, A 2, 3

Apply diverse lighting techniques in portraits, product

3 photography, and handling reflective surfaces, mastering U, A, An 3, 4
filters and specialized equipment.
Master reflectors, bounce techniques, indoor/outdoor
4 lighting for skilful photography in varied environments, U, A, An, S 3,4
including tabletop setups.
Master post-processing: hands-on software practice for
5 RAW conversion, monochrome fine-tuning, refining, C, S 3, 7
and enhancing images with artistry.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Light

Properties of Lighting:
Introduction to light properties, including intensity,
1.1 direction, and quality. 3 1
Explanation of brightness, contrast, and their impact
on photography.
Visible Spectrum and Colour Temperature:
Understanding the visible spectrum and its influence
1 1.2 on colour rendition. 3 1
Exploring colour temperature and its effects on mood
and tone in photography.

Continues lights and Flashlights:

1.3 Differentiating continuous lighting sources from 4 1
flashlights. Practical demonstrations showcasing
their applications in photography.

Page 57 of 282
 Measuring Light:
Detailed explanation of external light meters,
1.4 reflected light and incident light metering. 4 1
Practical exercises to understand the nuances of
metering techniques.

Intensity, Illuminance & Luminance:

Definitions and practical applications of intensity,
1.5 illuminance, and luminance. 4 1
Hands-on activities to measure and understand these
aspects of light.

External Flash and its Applications

Flash and Trigger:

Introduction to external flashes, triggers, and their
2.1 functionalities. 5 2
Practical sessions on setting up and triggering
external flashes.
Soft Light and Hard Light:
Understanding the characteristics and applications of
2.2 soft and hard light. 4 2
Demonstrations using modifiers to control light
hardness.
2
Soft Box and Honeycomb Grid:
Exploring the use of soft-boxes and honeycomb grids
2.3 for modifying light. 5 2
Hands-on exercises to create different lighting
effects.

Synch Shutter Speed:

Importance of synchronization between shutter speed
2.4 and flash. 4 2
Practice sessions on achieving optimal
synchronization for various scenarios.

Various Lighting Controls

Types of Lighting and Filters:

Exploring various lighting setups (e.g., natural,
3.1 artificial, studio) and their applications. 5 3
Understanding the usage of filters in different
photography scenarios.

Portrait and Product Photography:

Techniques specific to portrait and product
3
photography, including lighting setups and
3.2 5 3, 4
compositions.
Practical sessions capturing portraits and product
shots.
Shiny Materials and Tabletop Photography:
3.3 Strategies for photographing reflective or shiny 5 3, 4
surfaces.

Page 58 of 282
 Practical demonstrations of tabletop photography
techniques.

Reflectors, Bounce, Indoor and Outdoor

Photography:
Utilizing reflectors and bounce techniques for
3.4 5 3, 4
indoor and outdoor photography.
Practical exercises in different environments to
master these techniques.

Image Processing

Introduction to Image Processing Software:

Overview of popular image processing software
4.1 (e.g., Adobe Lightroom, Photoshop). 5 4,5
Basics of importing, organizing, and cataloguing
images.
RAW Conversion and Editing:
Understanding RAW files and their advantages in
4.2 post-processing. 2 4,5
Hands-on exercises in RAW conversion and initial
4 image edits.

Monochrome Image Settings:

Exploring techniques to create impactful
4.3 monochrome images. 2 4,5
Practical sessions adjusting settings for monochrome
enhancement.

4.4 Project Works 10 5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Interactive Lectures start each module with engaging lectures incorporating

visual aids, demonstrations, and multimedia presentations. In Module I, we
cover light properties, the visible spectrum, and measurement techniques.
For Module II, delve into flash mechanisms, light types, and
Teaching
synchronisation. Module III can explore diverse lighting setups and filter
and applications. Conclude with Module IV, introducing post-processing
Learning concepts and software usage.
Approach
● Supplement lectures with practical workshops. In Module I, provide external
light meters for spot and incident metering practice. Module II could include
workshops on manipulating soft and hard light using accessories like soft
boxes and honeycomb grids. Module III workshops may involve tabletop
photography and reflector usage. In Module IV, conduct RAW conversion
and image editing software tutorials.

Page 59 of 282
 ● Incorporate film screenings for visual learning. Analyse the cinematography
techniques, lighting styles, and storytelling methods showcased in movies,
linking them to modules. For instance, Module I can analyse lighting
variations, while Module III relates to filter usage and light manipulation.

● Invite professionals for guest lectures or arrange industry visits. In Module

II, industry experts can share insights on flash technologies and techniques.
For Module III, invite photographers specializing in portrait or product
photography. For Module IV, professionals can discuss post-processing
trends and practices.

● Assign tasks to reinforce learning. In Module I, tasks could involve

measuring and analysing light in different settings. For Module II, assign
projects utilizing external flash techniques. Module III projects might
include shooting portraits using reflectors. Module IV could involve RAW
conversion and monochrome image editing assignments.

● Organize regular discussion forums to clarify doubts and encourage peer

learning. Review sessions at the end of each module can consolidate
learning, allowing students to present their assignments for feedback and
discussion.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments and Class Exercises
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References

1. Busselle, M. (1996). Mastering black and white photography. HarperCollins Publishers.

2. Child, J. (2004). Studio photography: Essential skills. Focal Press.
3. Creasey, M. (2009). Light: Science and magic. An introduction to photographic lighting. Taylor &
Francis.
4. Dickinson, R. (2012). Lighting techniques for photographing model portfolios. Amherst Media.
5. Fuss, D. (1993). Light and shadow: How to photograph light and shadow for dramatic effect. Focal
Press.
6. Grecco, M. (2006). Lighting and the dramatic portrait: The art of celebrity and editorial
photography. Amphoto Books.
7. Hanlon, J. (2009). Creative lighting techniques for studio photographers. Amherst Media.
8. Hunter, F., Biver, S., Fuqua, P., & Reid, R. (2021). Light—science & magic: An introduction to
photographic lighting. [Link].
9. Hunter, F., Fuqua, P., & Biver, S. (2012). Light science and magic: An introduction to photographic
lighting. Focal Press.
10. Kennel, S., Waggoner, D., & Carver-Kubik, A. (2010). In the darkroom: An illustrated guide to
photographic processes before the digital age. Thames & Hudson.

Page 60 of 282
INTRODUCTION TO DIRECTION

Mahatma Gandhi University

Kottayam

Programme BA (HONORS) MULTIMEDIA

Course Name INTRODUCTION TO DIRECTION

Type of
DSE
Course

Course Code MG3DSEMLM201

Course Level 200-299

The “Introduction to Direction” course provides a comprehensive

foundation for aspiring filmmakers to understand the fundamental
principles and responsibilities of a director in the filmmaking process.
Throughout this engaging program, students explore the key elements of
Course effective storytelling, visual composition, and the director's role in guiding
Summary actors to convey compelling narratives. The curriculum begins with an
overview of the director's crucial position in translating scripts into visual
stories, emphasizing the importance of creative decision-making and
collaboration.

Semester III Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 61 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Grasp classical screenplay structures and the concept of

mise-en-scene, including elements such as setting, lighting, K 1, 2
and composition.

2 Understand narrative styles, including genre, tone, and

Joseph Campbell's Hero's Journey, and sound components in K,U 2, 3
screenplays.
Apply emotional and mood presentation techniques in
3 scriptwriting, utilize various types of shots and cameras,
A 3, 4
and understand cinema lenses.
Analyse direction code words, and master writing
4 techniques for television, including crafting compelling
An 3, 4
characters and engaging dialogue.
Synthesize knowledge to plan for commercial breaks,
5 create story arcs, and balance drama and comedy
effectively, demonstrating collaboration and adherence to E,C 3, 5
industry standards.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Basic Screenplay Structure

Classical Screenplay Structure - Three-Act

1.1 4 1
Structure - Five-Act Structure
1

1.2 Reading a Script - Read Classical Scripts 4 1

Page 62 of 282
 Concept of Mise-en-scene - Setting - Costume
1.3 and Makeup - Lighting - Actors and 4 1
Performance - Props - Composition

Elements of Scene - Setting - Characters -

Dialogue and Action - Props and Costumes -
1.4 Blocking and Movement - Sound - Pacing and 5 1
Rhythm

1.5 Writing Concept and Script for a Scene 4 1

Sound Components in Screenplay

Style- Genre- Tone - Voice-over, Monologue,

2.1 Narration - Scene Beats 4 2

2.2 Joseph Campbell’s Hero’s Journey 5 2

2

2.3 Sound Components in Screenplay - Dialogue -

Parentheticals - Voiceover (V.O.) - Sound 6 2
Effects (SFX) - Music - Ambient Sounds -
Silence

Scene Composition

3.1 Emotion / Mood Presentation in Script - Clear

and Evocative Scene - Descriptions Character 6 2
Reactions- Internal Thoughts and Feelings -
Dialogue Tone and Subtext

3.2 Types of Shots- Scene Composition 4 2

3
3.3 Types of Cameras for Film and OTT 4 3

3.4 Understanding Cinema Lenses - Prime Lenses-

Zoom Lenses- Wide-Angle Lenses- Standard
Lenses- Telephoto Lenses- Macro Lenses- 6 3
Anamorphic Lenses- Tilt-Shift Lenses- Fisheye
Lenses- Cine Lenses

Page 63 of 282
 Basic Elements of Direction

4.1 Understanding Direction Code Words - Action-

Cut- Fade In/Fade Out – Cross- Enter/Exit-
Hold- Pick Up- Upstage/Downstage- Cheating- 5 4
Reaction Shot- Pace- Emote- Stage Left/Stage
Right

4.2 Writing for Television - Understand the Format-

Create Compelling Characters- Establish a
6 4
Unique Voice- Study the Show- Craft Engaging
Dialogue- Master the Teaser-

4
4.3 Plan for Commercial Breaks- Create Story
Arcs- Character Development Over Time-
Balancing Drama and Comedy- Follow Industry
Standards- Collaborate with the Team- Know 8 5
Your Audience- Create Hooks- Budget-
Feedback

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Understanding Screenplay Structures In a 60-minute lecture, students are

introduced to classical screenplay structures: three-act and five-act. Following,
in a 90-minute script analysis workshop, classical scripts are analysed,
identifying and discussing key narrative elements. Finally, in a 30-minute
interactive session, challenges and insights from script analysis are discussed.

● Mise-en-scène and Scene Composition In a 90-minute lecture, students

Teaching explore mise-en-scène elements and effective scene composition. Following,
and in a 90-minute practical session, students write concepts and scripts for scenes,
Learning incorporating mise-en-scene principles, with peer feedback. Finally, in a 30-
minute review, selected concepts and scripts are discussed, providing
Approach constructive feedback.

● Stylistic Elements, Sound, and Hero’s Journey In a 60-minute lecture,

students explore stylistic elements, genres, and tones in filmmaking, including
voice-over and scene beats. Following, a 90-minute Hero’s Journey workshop,
Joseph Campbell's theory is introduced and analysed. Finally, in a 30-minute
exercise, students incorporate sound components into screenplays with a group
discussion on its impact.

● Emotional Presentation and Cinematography Basics During a 90-minute

Emotion/Mood Writing Session, students practice conveying character
Page 64 of 282
 emotions and subtext in scene descriptions, followed by a 90-minute
Cinematography Basics overview covering shots, composition, and camera
types. Finally, in a 30-minute hands-on session, students explore camera
functionalities with a group discussion on practical applications.
● Direction Code Words, Television Writing, and Industry Standards
During a 60-minute session, students learn and apply common direction code
words, followed by a 90-minute Television Writing Workshop covering
format, character crafting, and dialogue. The session concludes with a 30-
minute discussion on industry standards and a Q&A addressing queries.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments and Seminars
*Please refer • Mini Project Presentation
appendix for
more details B. Semester End examination

• Project evaluation (5 Minutes short film) - 50 Marks

• Viva-Voce - 20 Marks

References

1. Ascher, S., & Pincus, E. (2013). The Filmmaker’s Handbook: A Comprehensive Guide for the
Digital Age. Plume
2. Douglas, P. (2007). Writing the TV drama series: How to succeed as a professional writer in TV.
Michael Wiese Productions.
3. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael Wiese
Productions.
4. Katz, S. D. (2013). Film Directing: Cinematic Motion. Michael Wiese Productions.

5. Martin, A. (2014). Mise-en-Scène and Film Style: From Classical Hollywood to New Media
Art. Palgrave Macmillan

6. Mascelli, J. V. (1998). The Five C’s of Cinematography: Motion Picture Filming Techniques.
Silman-James Press.
7. McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. New York,
NY: Harper Audio.
8. Murch, W. (2001). In the Blink of an Eye: A Perspective on Film Editing. Silman-James Press.

9. Rabiger, M. (2014). Directing: Film Techniques and Aesthetics. Focal Press.

10. Truby, J. (2007). The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. Faber &
Faber.

Page 65 of 282
 Mahatma Gandhi University
Kottayam

BASIC LIGHTING TECHNIQUES

Programme BA (HONS) MULTIMEDIA

Course Name BASIC LIGHTING TECHNIQUES

Type of
DSC- B
Course

Course Code MG3DSCMLM202

Course Level 200-299

This course covers light fundamentals, flash techniques, diverse lighting

scenarios, and post-processing. Module one explores light properties and
measurement. Module two focuses on external flash and synchronization.
Course
Module three discusses various lighting types and reflector techniques.
Summary
Module four covers post-processing methods. Together, they offer a
comprehensive understanding of light manipulation in photography.

Semester III Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 66 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Recall and describe the fundamental principles of light,
1 including natural and artificial sources, brightness, K, U & A 1, 2
contrast, and colour temperature.
Comprehend the techniques for mastering external flash
2 use, such as manipulating soft and hard light, and U, A 2, 3
synchronizing shutter speed for optimal photographic
results.
Apply various lighting methods to different photography
3 genres, demonstrating proficiency in capturing portraits, U, A, An 3, 4
product shots, and reflective surfaces using filters and
specialized equipment.
Analyse diverse lighting scenarios and settings,
4 confidently capturing high-quality images by mastering U, A, An, S 3,4
reflectors, bounce techniques, and indoor/outdoor
lighting dynamics, including tabletop setups.
Assess and critique image post-processing techniques,
5 including RAW conversion and monochrome fine- C, S 3, 7
tuning, to refine and enhance photographs, adding
artistic layers to the final work.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Light

Properties of Lighting:
Introduction to light properties, including intensity,
1.1 direction, and quality. 5 1
Explanation of brightness, contrast, and their impact
on photography.
1
Visible Spectrum and Colour Temperature:
Understanding the visible spectrum and its influence
1.2 on colour rendition. 3 1
Exploring colour temperature and its effects on mood
and tone in photography.

Page 67 of 282
 Continues lights and Flashlights:
1.3 Differentiating continuous lighting sources from 4 1
flashlights. Practical demonstrations showcasing
their applications in photography.

Measuring Light:
Detailed explanation of external light meters,
1.4 reflected light and incident light metering. Practical 4 1
exercises to understand the nuances of metering
techniques.

Intensity, Illuminance & Luminance:

Definitions and practical applications of intensity,
1.5 illuminance, and luminance. Hands-on activities to 4 1
measure and understand these aspects of light.

External Flash and its Applications

Flash and Trigger:

Introduction to external flashes, triggers, and their
2.1 5 2
functionalities. Practical sessions on setting up and
triggering external flashes.
Soft Light and Hard Light:
Understanding the characteristics and applications of
2.2 4 2
soft and hard light. Demonstrations using modifiers
to control light hardness.
2
Soft Box and Honeycomb Grid:
Exploring the use of soft-boxes and honeycomb grids
2.3 5 2
for modifying light. Hands-on exercises to create
different lighting effects.

Synch Shutter Speed:

Importance of synchronization between shutter speed
2.4 4 2
and flash. Practice sessions on achieving optimal
synchronization for various scenarios.

Various Lighting Controls

Types of Lighting and Filters:

Exploring various lighting setups (e.g., natural,
3.1 artificial, studio) and their applications. 5 3
Understanding the usage of filters in different
photography scenarios.
Portrait and Product Photography:
Techniques specific to portrait and product
3
3.2 photography, including lighting setups and 5 3, 4
compositions. Practical sessions capturing portraits
and product shots.
Shiny Materials and Tabletop Photography:
Strategies for photographing reflective or shiny
3.3 5 3, 4
surfaces. Practical demonstrations of tabletop
photography techniques.

Page 68 of 282
 Reflectors, Bounce, Indoor and Outdoor
Photography:
Utilizing reflectors and bounce techniques for
3.4 5 3, 4
indoor and outdoor photography. Practical
exercises in different environments to master these
techniques.

Image Processing

Introduction to Image Processing Software:

Overview of popular image processing software
4.1 3 4,5
(e.g., Adobe Lightroom, Photoshop). Basics of
importing, organizing, and cataloguing images.
RAW Conversion and Editing:
Understanding RAW files and their advantages in
4.2 2 4,5
post-processing. Hands-on exercises in RAW
4 conversion and initial image edits.
Monochrome Image Settings:
Exploring techniques to create impactful
4.3 2 4,5
monochrome images. Practical sessions adjusting
settings for monochrome enhancement.

4.4 Project Works 10 5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Interactive Lectures start each module with engaging lectures incorporating

visual aids, demonstrations, and multimedia presentations. In Module I, we
cover light properties, the visible spectrum, and measurement techniques.
For Module II, delve into flash mechanisms, light types, and
synchronisation. Module III can explore diverse lighting setups and filter
applications. Conclude with Module IV, introducing post-processing
concepts and software usage.
Teaching
and ● Supplement lectures with practical workshops. In Module I, provide
Learning external light meters for spot and incident metering practice. Module II
could include workshops on manipulating soft and hard light using
Approach accessories like soft boxes and honeycomb grids. Module III workshops
may involve tabletop photography and reflector usage. In Module IV,
conduct RAW conversion and image editing software tutorials.

● Incorporate film screenings for visual learning. Analyse the cinematography

techniques, lighting styles, and storytelling methods showcased in movies,
linking them to modules. For instance, Module I can analyse lighting
variations, while Module III relates to filter usage and light manipulation.

● Invite professionals for guest lectures or arrange industry visits. In Module

II, industry experts can share insights on flash technologies and techniques.
Page 69 of 282
 For Module III, invite photographers specializing in portrait or product
photography. For Module IV, professionals can discuss post-processing
trends and practices.

● Assign tasks to reinforce learning. In Module I, tasks could involve

measuring and analyzing light in different settings. For Module II, assign
projects utilizing external flash techniques. Module III projects might
include shooting portraits using reflectors. Module IV could involve RAW
conversion and monochrome image editing assignments.

● Organize regular discussion forums to clarify doubts and encourage peer

learning. Review sessions at the end of each module can consolidate
learning, allowing students to present their assignments for feedback and
discussion.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments and Class Exercises
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References

1. Busselle, M. (1996). Mastering black and white photography. HarperCollins Publishers.

2. Child, J. (2004). Studio photography: Essential skills. Focal Press.
3. Creasey, M. (2009). Light: Science and magic. An introduction to photographic lighting. Taylor &
Francis.
4. Dickinson, R. (2012). Lighting techniques for photographing model portfolios. Amherst Media.
5. Fuss, D. (1993). Light and shadow: How to photograph light and shadow for dramatic effect. Focal
Press.
6. Grecco, M. (2006). Lighting and the dramatic portrait: The art of celebrity and editorial
photography. Amphoto Books.
7. Hanlon, J. (2009). Creative lighting techniques for studio photographers. Amherst Media.
8. Hunter, F., Biver, S., Fuqua, P., & Reid, R. (2021). Light—science & magic: An introduction to
photographic lighting. [Link].
9. Hunter, F., Fuqua, P., & Biver, S. (2012). Light science and magic: An introduction to photographic
lighting. Focal Press.
10. Kennel, S., Waggoner, D., & Carver-Kubik, A. (2010). In the darkroom: An illustrated guide to
photographic processes before the digital age. Thames & Hudson.

Page 70 of 282
 SET

Mahatma Gandhi University

Kottayam

DESIGN

Programme

Course Name SET DESIGN

Type of
MDC
Course

Course Code MG3MDCMLM200

Course Level 200-299

Set Design is a pivotal discipline in Multimedia, guiding the aesthetic and

conceptual aspects of design projects. This course delves into historical and
contemporary design trends, emphasizing colour theory, typography, and
composition. Participants develop a discerning eye for detail and learn to
Course align visual elements with overarching concepts. Through hands-on projects
Summary and collaboration with creative teams, students cultivate creativity and
effective communication skills. The program prepares individuals for
diverse media industries, including advertising, marketing, film, and digital
media, equipping them to shape compelling and cohesive visual narratives.

Semester III Credits 3

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 71 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Empower with a comprehensive understanding of visual U 1,2

storytelling, brand communication, and design proficiency in
our Art Direction course, preparing them to craft compelling
narratives across diverse media.

2 Equip with a solid foundation in design principles, fostering C, S 2,3

the ability to create visually compelling and effective
communication across various mediums

3 Cultivate a harmonious blend of artistic intuition and E, An, S 2,3

technical expertise in our Art Direction course, enabling
students to craft visually stunning designs with strategic
precision

4 Develop a nuanced understanding of art history and refine E, An, AP 3,5

artistic skills through our course, culminating in the ability to
thoughtfully recreate and reinterpret iconic paintings with
creative insight.

5 Empower with a comprehensive understanding of visual U 1,2

storytelling, brand communication, and design proficiency in
our Art Direction course, preparing them to craft compelling
narratives across diverse media.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Art direction

1.1 History of art direction, Definition and 5 1, 2, 3

1 significance of Art Direction

Page 72 of 282
 1.2 The role of an Art Director in creative projects. 4 1, 2,3

Fundamentals of Set Design

2.1 Understanding basic design principles- colour 3 1, 4

theory – composition.

2.2 Visual Communication: Exploring how to convey 3 1,2,5

2 messages effectively through visual elements-
impact of imagery & symbols.

2.3 Implementation of art direction in different 3 1,3,4,5

media: drama- films- photoshoots- albums

Aesthetic sense and technical aspects of art direction

Five sense of art direction: Visual Sense, Aesthetic

3.1 Sense, Spatial Sense, Brand Sense, Emotional 4 1,4, 5
Sense

Imagery and Symbolism : Selecting and

3.2 manipulating images to enhance visual 4 4,5
storytelling. Effective use of symbols and visual
metaphors to communicate ideas
3

3.3 Understanding Production Processes: various 3 3, 5

media (print, digital, film).

3.4 Manual Design and Illustration-Technical 3 3,4,5

Collaboration-presenting skills.

Creating a Set

4.1 Research and Analysis-Conceptualization and 4 1,2,3

4
Interpretation

Page 73 of 282
 4.2 Material and Medium Selection - Technical 3 1,2,5
Execution - Scale and Proportions

4.3 Colour Matching - Documentation and 6 1,2,4,5

Process - Artistic Statement - Presentation

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: Lectures with Unlock the visual language of

storytelling and brand identity in this art direction lecture, where we delve
into the fusion of aesthetics and strategy to create compelling narratives and
memorable designs.

● Interactive Discussions: Engage students in an interactive dialogue on the

dynamic intersection of creativity and strategy in art direction, exploring
how visual choices shape narratives, evoke emotions, and build powerful
Teaching brand identities
and ● Case Studies: An in-depth exploration of a successful art direction case
Learning study, unravelling the strategic visual choices that propelled a campaign to
Approach success and left a lasting impact in the industry.

● Power Point presentations: Elevate students understanding of Art Direction

through a dynamic PowerPoint presentation, unravelling the principles,
strategies, and visual storytelling techniques that define impactful creative
direction.

● Class room assignments: Immerging students in real-world scenarios with

thought-provoking classroom assignments in Art Direction, where they can
apply design principles to solve creative challenges, fostering practical skills
and critical thinking.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 25 marks
• Assignments, Seminars
• Class Exercises

*Please refer B. Semester End examination

appendix for
more details • Project evaluation (miniature set) – 40 Marks
• Viva-Voce – 10 Marks

Page 74 of 282
References

1. Albrecht, D., & David Winton Bell Gallery (Brown University). (1999). Film architecture: Set
designs from Metropolis to Blade Runner. Prestel.
2. Batley, C. (2002). The design development of Indian architecture. Asian Educational Services.
3. Brower, S. (2016). Inside art direction: Interviews and case studies. Bloomsbury Publishing.
4. Fletcher, A. (2001). The art of looking sideways. Phaidon Press.
5. Heller, S. (2009). Art direction explained, at last!. Laurence King Publishing.
6. Kleon, A. (2012). Steal like an artist: 10 things nobody told you about being creative. Hachette UK.
7. Martin, A. (2014). Mise-en-Scène and Film Style: From Classical Hollywood to New Media Art.
Palgrave Macmillan.
8. Rizzo, M. (2005). The art direction handbook for film. Focal Press.
9. Shorter, G. (2012). Designing for screen: Production and art direction explained. Crowood.
10. Tamhane, S., & Varma, R. (2016). Sar: The essence of Indian design. Phaidon Press.

Page 75 of 282
ENVIRONMENTAL FILMMAKING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name ENVIRONMENTAL FILMMAKING

Type of VAC
Course

Course Code MG3VACMLM200

Course Level 200-299

The Environmental Filmmaking course teaches students to produce

impactful films on environmental issues, integrating filmmaking skills with
environmental science. Topics include global environmental challenges,
Course
cinematography, documentary techniques, field production, ethical
Summary
considerations, and distribution strategies. Students create a short film
combining practical skills and environmental knowledge.

Semester III Credits 3

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 76 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Students will understand film history and roles of
1 directors, producers, cinematographers, and editors. K,U 1, 2

Practical exercises build proficiency in screenwriting,

2 storyboarding, camera operation, and post-production. K,U, A 2, 3

Students will analyse films, evaluate storytelling, and

3 appreciate the nuances of cinematic language. A,E, An 2, 4

Participants will learn budgeting, scheduling, casting, and

4 location scouting for comprehensive filmmaking planning. C,S , I 3, 4

Final projects and peer critiques showcase students'

5 creativity, professionalism, and communication in
U,I, AP 4, 10
filmmaking.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Environmental Filmmaking

Overview of environmental issues and the role

1.1 1 1
of filmmaking in advocacy

History of environmental films and notable

1 1.2 2 1
filmmakers

Ethical considerations and the impact of films

1.3 2 1
on public opinion

Basics of Filmmaking

2 2.1 Introduction to the film production process. 2 2

Page 77 of 282
 Basics of cinematography: camera types, shot
2.2 composition, and lighting. 3 2

Fundamentals of scriptwriting for

2.3 documentaries. 5 2

Research and Pre-production

Conducting thorough research on

3.1 environmental topics. 5 2

3 3.2 Planning and organizing a film project. 5 3

3.3 Storyboarding and developing a treatment. 5 3

Technical Skills and Production

Techniques for effective visual storytelling.

4.1 Using visuals to convey environmental 5 4
messages.

Techniques for filming in various

4 4.2 environmental conditions. 5 5

Navigating logistical and environmental

challenges.
4.3 5 5
Ensuring safety and ethical filming practices.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Interactive Lectures and Discussions: During the Overview of the Film

Teaching Industry, instructors will utilize interactive lectures to discuss the importance
and of environmental filmmaking.
Learning
Approach ● On-Set Simulation and Production Exercise During the Production
Exercise in Week 12, students will work on a short film project in small
groups. The goal is to provide a realistic production experience.

Page 78 of 282
 MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) 25 marks
Types
• Assignments
• Seminars
• Class Exercises
*Please refer
appendix for B. Semester End examination
more details
• Project evaluation – 40 Marks
• Viva-Voce – 10 Marks

References

1. Ascher, S., & Pincus, E. (2012). The Filmmaker's Handbook: A Comprehensive Guide for the
Digital Age. Plume.
2. Aufderheide, P. (2007). Documentary Film: A Very Short Introduction. Oxford University Press.
3. Bordwell, D., & Thompson, K. (2019). Film Art: An Introduction. McGraw-Hill.
4. Bousé, D. (2000). Wildlife Films. University of Pennsylvania Press.
5. Brown, J. (2008). Environmental Communication and the Public Sphere. Sage Publications.
6. Cooper, M., & Taylor, J. (2012). Becoming a Wildlife Filmmaker. Focal Press.
7. Honthaner, E. L. (2010). The Complete Film Production Handbook. Focal Press.
8. Nichols, B. (2017). Introduction to Documentary (3rd ed.). Indiana University Press.
9. Rabiger, M. (2014). Directing the Documentary (6th ed.). Focal Press.
10. Wexler, H. (2008). Environmental Filmmaking. Elsevier.

Page 79 of 282
SEMESTER - IV

Page 80 of 282
 Mahatma Gandhi University
Kottayam

UNDERSTANDING ART

Programme BA (HONS) MULTIMEDIA

Course Name UNDERSTANDING ART

Type of
DSC-A
Course

Course Code MG4DSCMLM200

Course Level 200-299

The course ‘Understanding Art’ explores diverse art forms, from traditional
to contemporary. Students examine classical Greek and Sanskrit theatre,
Aristotelian and Indian stagecraft, and socio-economic influences on
cultural consciousness. The course enables critical assessment of emerging
Course
art forms, fostering an understanding of artistic principles, societal impacts,
Summary
and evolving contemporary aesthetics. By course end, students gain
comprehensive insights into various art forms and their historical and
philosophical contexts

Semester IV Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 81 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Illustrate the nature and content of various art forms

1 U 1, 3

Explain classical theatre forms such as Greek and Sanskrit.

2 U, K 3
Identify the importance of the Aristotelian concept of art
3 and Indian concept on stage craft. A 3,4

Assess the role of socio-economic elements in the

4 development of a cultural conscious and its impact on
E 4, 6
artistic expressions.
Critically evaluate the aesthetic values of emerging forms
5 of art. E 3, 8

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO

No.

Classical Theatre Forms - Greek and Sanskrit

1.1 Introduction to Greek Theatre: Tragedy 5 1,2

and Comedy

1.2 Exploration of Sanskrit Theatre: Natya 5 2

Shastra and Rasa theory.
1
Analysis of key plays, themes, and
1.3 dramatic techniques 5 2

1.4 Cultural and historical contexts 4 2

influencing these theatrical forms

Western art - Christian art

2 2.1 Evolution of Western art with a focus on 4 1,3

Christian art – Early Christian art,

Page 82 of 282
 Byzantine Art, Romanesque Art, Gothic
Art, Renaissance Art & Baroque Art

2.2 Iconography in Christian paintings and 4 3

sculptures

Analysis of how Christian beliefs have

2.3 influenced artistic expression - 4 4
Analysing religious narratives through
artistic expressions

Evaluating the socio-economic and

2.4 3 4
cultural situations and its reflection in
art.

Western Art from 18th Century

Understanding the shift in artistic

3.1 3 3,4
paradigms during the Modern era

Various Art movements of 18th, 19th &

20th centuries – Rococo, Neoclassicism,
3.2 Romanticism, Realism, Impressionism, 3 1
Expressionism, Cubism,
Surrealism…etc.
3
In-depth study of key modern artists and
their contributions - Exploration of the
3.3 3 5
avant-garde and experimental aspects of
modern art.

Analysing the socio-economic factors

3.4 3 5
influencing modern artistic expressions

Indian art

Overview of Indian art: historical and

4.1 cultural contexts -Exploration of key 4 1
themes, motifs, and symbols in Indian
art.
4
Buddhist art and architecture, including
4.2 stupas and monasteries - Hindu temple 4 3
architecture, with a focus on prominent
examples.

5 TEACHER SPECIFIC MODULE

Page 83 of 282
 Classroom Procedure (Mode of transaction)

● Classroom Lectures: A hands-on approach is essential, integrating theoretical

knowledge with practical exercises to cultivate skills in storytelling,
performance, and production techniques and fostering creativity and critical
thinking among students through collaborative projects

● Interactive Discussions: Encourage active engagement and deeper

understanding by fostering dialogue, sharing diverse perspectives, and
encouraging critical analysis, enriching the learning experience and promoting
collaboration and peer learning in exploring complex topics and challenging
Teaching and assumptions.
Learning
Approach ● Power Point presentations: Offer visual aids to enhance comprehension of key
concepts and facilitate structured delivery of course material, engaging
students with multimedia content while reinforcing learning objectives and
encouraging interactive discussions.

● Classroom assignments: Provide opportunities for hands-on application of

theoretical knowledge, fostering creativity and skill development through
practical exercises, role-playing scenarios, and group projects, promoting
active learning and reinforcing course content through experiential
engagement.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments and Classroom works

• Seminars
Assessment
Types

B. Semester End examination

Theory Exam for 70 marks
• Part A
Short Answer (5 out of 7) 2 x 5 = 10 Marks
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
Essay (2 out of 4) 15 x 2 = 30 Marks

Page 84 of 282
References

1. Balasubramaniam, R. (1995). Indian Art. Oxford University Press.

2. Berger, J. (1972). Ways of Seeing. Penguin Books.
3. Berger, M. (1962). The Crisis of the Early Italian Renaissance. Princeton University Press.
4. Clark, T. J. (1985). The Painting of Modern Life: Paris in the Art of Manet and His Followers.
Knopf.
5. Davies, P. J. E. (2016). The Metropolitan Museum of Art: Masterpiece Paintings. DK.
6. Elkins, J. (2001). Why Art Cannot Be Taught: A Handbook for Art Students. University of Illinois
Press.
7. Gardner, H. (1975). Art through the Ages. Harcourt Brace Jovanovich.
8. Kramrisch, S. (1994). The Art of India: Traditions of Indian Sculpture, Painting, and Architecture.
Phaidon.
9. Millard, R. (2009). On Christian Symbols. Pegasus.
10. Thapar, B. (2004). Introduction to Indian Architecture. Periplus Editions.

Page 85 of 282
 Mahatma Gandhi University
Kottayam

PRODUCTION DESIGN - I

Programme BA (HONS) MULTIMEDIA

Course Name PRODUCTION DESIGN -I

Type of
DSC-A
Course

Course Code MG4DSCMLM201

Course Level 200-299

Art Direction is a pivotal discipline in Multimedia, guiding the aesthetic and

conceptual aspects of design projects. This course delves into historical and
contemporary design trends, emphasizing colour theory, typography, and
composition. Participants develop a discerning eye for detail and learn to
Course align visual elements with overarching concepts. Through hands-on projects
Summary and collaboration with creative teams, students cultivate creativity and
effective communication skills. The program prepares individuals for
diverse media industries, including advertising, marketing, film, and digital
media, equipping them to shape compelling and cohesive visual narratives.

Semester IV Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 86 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains*

1 Demonstrate a deep understanding of art direction U 2, 3

theories, applying them to analyse and critique visual
elements in various media forms.

2 Gain a profound comprehension of semiotics and colour C, S 3, 4

theory, enabling them to interpret and apply visual
symbolism effectively in design and communication.

3 Master the principles of camera and lighting techniques, E, An, S 2, 3

showcasing the ability to create visually compelling
narratives through strategic use of cinematography
elements in art direction.

4 Develop a nuanced understanding of classical works, E, An, AP 3, 7

demonstrating the capability to critically analyse artistic
elements and contextualize their relevance in the
broader scope of art direction.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Theories of Art direction

Visual Hierarchy Theory:

1.1 Establishing an order of importance 5 1, 2, 3
within a visual composition.
1

Application: Using elements like

1.2 size, colour, and contrast to guide the 5 1, 2,3

Page 87 of 282
 viewer's eye through a design and
emphasize key elements.

1.3 Gestalt Principles of art. 5 2, 3

Semiotics and Colour Theory

2.1 Semiotics-Golden ratio. 5 1, 4

Colour Theory- Colour Wheel-

2.2 Primary, Secondary, and Tertiary 5 1,2,5
Colours.

Colour Harmony- Warm and Cool

2 2.3 Colours- Colour Temperature- 5 1,3,4,5
Colour Value

Colour Saturation- Colour

Psychology- Colour Mixing and
2.5 Pigments- Colour in Cultural 6 1,4
Context- Contemporary Colour
Trends.

Camera and Lighting in Art Direction

Introduction to Camera Types-

3.1 Camera Controls and Settings- Lens 3 1,4, 5
Selection and Characteristics

Lighting Techniques and Principles-

3.2 Introduction to Lighting- Lighting
3 5 4,5
Setups- Colour Temperature and
Lighting Styles.

Composition and Framing-

3.3 Composition Basics- Camera Angles 5 3, 5
and Movement.

Page 88 of 282
 Blocking and Staging-
Cinematography and Visual
3.4 Language- Natural Lighting and 5 3,4,5
Location Shooting- Special Effects
and Practical Lighting.

Classical works and its analysis

German Expressionism and its

Artistic Influence - Italian
4.1 Neorealism and Art Direction 8 1,2,3
French New Wave and Artistic
Rebellion- Japanese Cinema and
Visual Storytelling.

A study about Ben Hur - Edward C.

4.2 Carfagno and set decorator 5 1,2,5
William

4
In depth study on classical movies
- gladiator, Black Panther, In the
4.3 Mood for Love, The Lord of the 5 1,2,4,5
Rings, Blade Runner, Pan's
Labyrinth

In depth study on Indian classical

movies- Mughal-e-Azam, Devdas,
Lagaan, Bajirao Mastani, PK,
4.4 3 1,2,4,5
Padmaavathi, Kunjali Marakar,
Angamaly Diaries, [Link],
Kammatipaadam etc.

5 TEACHER SPECIFIC MODULE

Page 89 of 282
 Classroom Procedure (Mode of transaction)

● Classroom Lectures: Lectures with Unlock the visual language of

storytelling and brand identity in this art direction lecture, where we
delve into the fusion of aesthetics and strategy to create compelling
narratives and memorable designs.

● Interactive Discussions: Engage students in an interactive dialogue on

the dynamic intersection of creativity and strategy in art direction,
Teaching and
exploring how visual choices shape narratives, evoke emotions, and
Learning
build powerful brand identities
Approach
● Case Studies: An in-depth exploration of a successful art direction case
study, unravelling the strategic visual choices that propelled a campaign
to success and left a lasting impact in the industry.

● Class room assignments: Immerging students in real-world scenarios

with thought-provoking classroom assignments in Art Direction, where
they can apply design principles to solve creative challenges, fostering
practical skills and critical thinking.

MODE OF ASSESSMENT
Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and classroom exercises
• Seminar

*Please refer B. Semester End examination

appendix for
• Project Evaluation (Record Book) – 50 Marks
more details
• Viva-voce – 20 Marks

References

1. Albrecht, D., & David Winton Bell Gallery (Brown University). (1999). Film architecture: Set
designs from Metropolis to Blade Runner. Prestel.
2. Batley, C. (2002). The design development of Indian architecture. Asian Educational Services.
3. Brower, S. (2016). Inside art direction: Interviews and case studies. Bloomsbury Publishing.
4. Fletcher, A. (2001). The art of looking sideways. Phaidon Press.
5. Heller, S. (2009). Art direction explained, at last!. Laurence King Publishing.
6. Kleon, A. (2012). Steal like an artist: 10 things nobody told you about being creative. Hachette UK.
7. Martin, A. (2014). Mise-en-Scène and Film Style: From Classical Hollywood to New Media Art.
Palgrave Macmillan.
8. Rizzo, M. (2005). The art direction handbook for film. Focal Press.
9. Shorter, G. (2012). Designing for screen: Production and art direction explained. Crowood.
10. Tamhane, S., & Varma, R. (2016). Sar: The essence of Indian design. Phaidon Press.

Page 90 of 282
 Mahatma Gandhi University
Kottayam

MULTICAM SETUPS

Programme BA (HONS) MULTIMEDIA

Course Name MULTICAM SETUPS

Type of
DSE
Course

Course Code MG4DSEMLM200

Course Level 200-299

This course dives deep into the intricacies of video production and
broadcasting. It begins by unravelling the technicalities of visual perception,
frame rates, and exposure matching while emphasizing the significance of
shots and camera operations. Moving into multi-camera setups, it explores
studio functionalities, equipment connectivity, and the crucial roles of
Course personnel in production. Lighting takes centre stage in Module III,
Summary dissecting directional and diffused light, various light sources, and their
colour temperatures for optimal visual impact. Finally, Module IV
synthesizes the learnings, guiding students through the process of shooting,
editing, and mixing live or pre-recorded programs, providing a holistic
understanding of video production from inception to execution.

Semester IV Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 91 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Develop expertise in visual dynamics, exposure,

1 and camera operations for impactful storytelling U&A 1, 2
in video production.
Master the setup, operation, and connectivity of
2 studio equipment, facilitating seamless multi- U, A, C 3, 4
camera productions and studio floor
management.
Understand and apply diverse lighting sources,
3 colour temperatures, and lighting techniques for U, A, An, C 2, 4
dynamic visual effects and storytelling.

Gain proficiency in technical formats, frame

4 rates, and digital workflows, enabling high- U, A, An, C 5, 9
quality video production and editing.
Acquire skills in shooting, editing, and mixing
5 live or pre-recorded programs, ensuring a A, C, S 2, 10
comprehensive understanding of end-to-end
video production processes.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Persistence of Vision & Technical Formats

Explain the concept of persistence
1.1 of vision and the technical aspects of 5 1, 2
analogue and digital formats

Frame Rate, Aspect Ratio &

1 Exposure Matching: Cover frame
rates, aspect ratios, and exposure
1.2 matching techniques, emphasizing 5 1,2
their role in visual storytelling.

Page 92 of 282
 Camera Operations and Visual
Dynamics: Explore camera
operations, shots' meanings, and the
1.3 5 3,4
differences between DSLRs and
video cameras for effective visual
storytelling.

Advanced Lighting Techniques:

1.4 Delve into lighting sources, colour 8 5
temperatures, and their application
in video production for enhanced
visual impact.

Studio Production and Multi-Camera Operations

Focus on studio equipment

connectivity, PCR functions, and
2.1 the role of personnel in a multi- 8 1,2
camera setup
2
Explain the commands and
responsibilities of a producer, and
2.2 7 3,4
the floor manager's role in studio
operations

Lighting Techniques in Multi-Camera Production

Directional vs. diffused light,

3.1 6 5
explore various light sources
3
Application of lights in multi-
3.2 6 5
camera setups

Multicam Video Production

Guide students through shooting,

editing, and mixing live or pre-
4 4.1 recorded programs, demonstrating a 25 5
comprehensive understanding of
video production processes

5 TEACHER SPECIFIC MODULE

Page 93 of 282
 Classroom Procedure (Mode of transaction)
● Begin with engaging lectures supported by multimedia presentations to
introduce theoretical concepts like persistence of vision, frame rates, and
camera operations. Supplement these with live demonstrations
showcasing lighting techniques and camera manoeuvres.
● Provide practical sessions where students operate cameras, configure
lighting setups, and manage studio equipment. Allow them to practice
multi-camera setups, floor management, and lighting arrangements in a
controlled environment.
● Use case studies of successful productions to analyse technical
Teaching and workflows, lighting choices, and camera techniques. Discuss these in
Learning class to understand the practical applications of theoretical knowledge.
Approach ● Invite industry professionals to share insights into the latest trends, studio
practices, and real-world experiences. Arrange visits to production
studios or TV stations for a first-hand experience of professional setups.
● Form student groups to plan and execute simulated productions. Assign
roles akin to a real studio setup, allowing students to apply theoretical
knowledge in practical scenarios, emphasizing teamwork and problem-
solving.
● Conduct regular review sessions where students present their projects,
receive feedback, and engage in discussions to enhance their
understanding and refine their skills.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments, Seminars, and Class Exercises

• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
• Project Evaluation - 50 marks
more details • Viva Voce - 20 Marks

Page 94 of 282
References

1. Brown, B. (2015). Multicamera Techniques: From Local to Internet. Focal Press.

2. Chen, M. (2012). Multicam Production: The Complete Guide. Michael Wiese Productions.
3. Clark, T. (2018). Multicamera Directing: The Art and Craft of Handling Multiple Cameras in Studio
and Field Production. Routledge.
4. Davidson, J. (2016). Multicamera Video Production and Post. Taylor & Francis.
5. Gomez, L. (2019). The Multicam Producer's Handbook: Planning, Producing, and Managing Multi-
camera Events. Routledge.
6. Jenkins, S. (2008). The Multicamera Assistant: A Complete Professional Handbook. Focal Press.
7. Johnson, R. (2014). Multicamera Editing: Process, Techniques, and Tips. Wiley-Blackwell.
8. Miller, A. (2017). The Multicam Revolution: A Comprehensive Guide to Multi-Camera Production.
Michael Wiese Productions.
9. Smith, D. (2013). The Multicamera Studio: Production and Direction. Focal Press.
10. Thompson, L. (2020). Multicamera Video Production: Behind the Scenes with Multiple Cameras.
CRC Press.

Page 95 of 282
SOUND DESIGN FOR FILM

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name SOUND DESIGN FOR FILM

Type of
DSE
Course

Course Code MG4DSEMLM201

Course Level 200-299

This course covers analytical listening, soundwalk practicums, and the

elements of sound structure. It explores voice aspects, including voice-overs
and narration techniques, and delves into sound effects, music, and mixing
Course
considerations for various media. The curriculum emphasizes practical
Summary
skills through projects, culminating in the creation of a tailored soundscape
for a fictional video to enhance the immersive storytelling experience.

Semester IV Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 96 of 282
COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Cultivate the ability to critically analyse and evaluate sound E,An 1,3,67,8
elements, employing analytical and critical listening
techniques

2 Apply advanced skills in utilizing the speaking voice, voice- A 1,3,4,5,

overs, and narration, covering aspects like frequency range, 6,7,8,9,
spectral content, nonverbal speech influences, and 10
microphone selection, while demonstrating proficiency in
voice acting, recording techniques, and automated dialogue
replacement.

3 Showcase creative proficiency in contextual and narrative C 1,3

sound

4 Demonstrate advanced skills in maintaining an aesthetic E, S 1,10

perspective in audio mixing for various media

5 Demonstrate creative proficiency by independently selecting C 1,3, 10

and implementing a diverse range of audio elements to craft
a customized soundscape

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO

No.

Introduction to Sound Design

Analytical And Critical Listening, Practicum:

1.1 soundwalk, focusing attention on the 2 1
soundscape.
1
Elements Of Sound Structure And Their Effects
1.2 On Perception: pitch, loudness, timbre, tempo, 1 1
rhythm, attack, duration, and decay

Page 97 of 282
 Strategies In Designing Sound, Script Analysis,
1.3 2 1
sound design script

Capturing Voice

The Speaking Voice, Voice-Overs, and

Narration: Frequency Range, Sound Level,
Distribution of Spectral Content, Influences of
2.1 Nonverbal Speech on Meaning, Basic 2 2
Considerations in Miking, Speech, Voice-Overs
2 and Narration, Voice Acting, Recording Voice-
Overs and Narration

Automated dialogue replacement, Microphone

2.2 Selection and Technique, Dialogue Rerecording: 3 2
Pros and Cons

Sound Effects and Music

Contextual Sound, Narrative Sound, Functions

3.1 2 3
of Sound Effects.

Types of Sound Effects, Producing Sound

3.2 Effects 3 3

Pre-recorded Sound Effect Libraries, Live

3.3 Sound Effects 5 3

3
Electronically Generated Sound Effects,
3.4 Organizing a Sound Effect Library, Spotting 5 3

Editing sound effects

3.5
10 3

Uses of Music in a Production, Music

3.6 Characteristics, Functions of Music 5 3
Underscoring

Mixing

An Overview: Maintaining Aesthetic

Perspective, Mixing for Various Media, 3 4
4.1
4 Mixing versus Layering, Metering, Mixing and
Editing

4.2 Premixing for Television and Film 2 4

Page 98 of 282
 The Rerecording, Mix Spatial Imaging of
4.3 Stereo, 5 4

Dialnorm, the CALM Act, and Dynamic Range

4.4 Control Rerecording Logs, Compatibility: 5 4
Stereo-to-Mono

Practical Exercise: Choose a 3-minute fictional

4.5 pre-shoot video and create a tailored soundscape, 5 4
incorporating various audio elements, and then
mix it in stereo format to elevate the immersive
storytelling experience

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Lecturing With Visual Aid Integration: Traditional Lecturing With

Visual Aids (Slides, Diagrams, Multimedia) For Enhanced
Comprehension.

Teaching ● Studio Recording Demonstrations and Workflow Showcase

and
Learning ● Hands-On Practice: Engage in practical exercises and program
Approach demonstrations for

● Direct application and skill development in a controlled learning

environment."

● Critical Listening Exercises, Case Studies, and Evaluating Sound

Design with Classic Movie Examples

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment
• Assignments, Seminars
Types
• Class works, Examinations and Viva
*Please refer
appendix for
more details B. Semester End examination

• Project Evaluation – 50 Marks

• Viva-Voce – 20 Marks

Page 99 of 282
References

1. "Pro Tools Reference Guide."

2. Alburger, J. R. (2019). The art of voice acting: The craft and business of performing for
voiceover. Focal Press.
3. Alten, S. R. (2004). Audio in media. London, Thomson Wadsworth.
4. Bartlett, Bruce, and Jenny Bartlett. Practical Recording Techniques: The Step-By-Step
Approach to Professional Audio Recording. Routledge, 2012.
5. Bevilacqua, E. (2018). Microphone Techniques for Live Sound. Routledge.
6. Case, A. (2001). Sound FX: Unlocking the Creative Potential of Recording Studio
Effects. Focal Press.
7. Chion, M. (1994). Audio-Vision: Sound on Screen. Columbia University Press.
8. Eargle, J. (2011). The Microphone Book. Focal Press.
9. Holman, T. (2010). Sound for Film and Television. Focal Press.
10. Müller, B. (2008). Sound design: The development of sound design for Hollywood films
and its impact on modern cinema. [Link].

Page 100 of 282

CHROMA KEYING CREATIONS

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name CHROMA KEYING CREATIONS

Type of
DSC-C
Course

Course Code MG4DSCMLM202

Course Level 200-299

This course offers a comprehensive journey into mastering green and blue
screen technology. Students delve into its historical evolution, core
principles, and practical applications. Using popular editing software, they
Course learn techniques for backdrop mastery, composition, optimal camera
Summary settings, and post-production workflows. Through hands-on exercises and
discussions, students gain proficiency in achieving seamless chroma key
effects, preparing them for advanced video production projects.

Semester IV Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 101 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Students will demonstrate a comprehensive
1 understanding of green/blue screen technology, K 1
including key concepts such as chroma keying,
foreground, and background.
Efficiently set up green/blue screen studio with suitable
2 backdrops, even lighting, and optimal camera A 2
positioning for shooting.
Students master three-point lighting for green/blue
3 screen, enhancing visual quality by adapting techniques A, An 2,4
to diverse scenarios.
Students will master green/blue screen shooting, basic
4 video editing, clean audio capture, and efficient shooting A, An 2,4
practices.
Explore advanced green/blue screen effects, adding
5 backgrounds, shadows, reflections, and motion graphics An, C, E 3,4,6
with text overlays.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Exploring Chroma Keying

Discuss the historical background and

evolution of green/blue screen
1 1.1 2 1
technology. Explain the core principles of
chroma keying.

Page 102 of 282

 Engage students in a discussion about key
concepts such as chroma keying,
foreground, and background.
1.2 2 1
Use examples to illustrate how these
concepts are applied in video production.

Conduct a practical session where

students compare and contrast green and
blue screens.
1.3 2 1
Discuss scenarios where one colour might
be preferred over the other.

Mastering Green and Blue Screen Backdrops

Explain the different types of backdrop

2.1 materials and their suitability for various 4 2
projects.

Discuss the importance of minimizing

2.2 shadows and achieving consistent 3 2
2
lighting across the entire screen.

Engage students in a discussion about the

impact of camera angles on the
2.3 effectiveness of green/blue screen 3 2
shooting. Discuss the importance of
camera positioning for capturing quality
footage.

Techniques for Green/Blue Screen Composition

Discuss optimal camera settings for
green/blue screen capture. Cover topics
3.1 such as frame rate, resolution, and white 4 3
balance adjustments.
3
Analyse examples of well-framed
green/blue screen shots. Discuss
3.2 compositional techniques to enhance the 3 3
overall visual appeal.

Page 103 of 282

 Simulate common pitfalls such as spill,
shadows, and wrinkles. Guide students in
3.3 identifying and rectifying these issues 4 3
during shooting sessions.

Post-Production Workflow for Green/Blue Screen Projects

Introduce students to widely used video

editing software (e.g., Adobe Premiere
Pro, Final Cut Pro).
4.1 8 4,5
Discuss the interface, key features, and
compatibility with green/blue screen
projects.
Demonstrate the process of importing
green/blue screen footage into the chosen
editing software.
4.2 7 4,5
Discuss organizational strategies for
efficient editing workflows.

Explain the fundamentals of chroma

4.3 keying, including selecting and adjusting 4 4,5
keying parameters.

4 Walk students through practical exercises

in refining edges and addressing spill
issues.
4.4 6 4,5
Provide tips and techniques for achieving
a clean key.

Discuss advanced techniques for adding

background elements and incorporating
4.5 visual effects. Demonstrate techniques 8 4,5
for adding realistic shadows and
reflections to green/blue screen footage.

Provide an overview of the final project

requirements. Organize peer review
4.6 15 4,5
sessions where students can share their
progress.

5 TEACHER SPECIFIC MODULE

Page 104 of 282

 Classroom Procedure (Mode of transaction)
● Conduct hands-on workshops and live demonstrations to actively engage
students in setting up green/blue screen studios, adjusting lighting, and
practicing camera techniques.
● Assign group projects where students work together to plan, shoot, and
edit green/blue screen videos. Encourage collaboration in problem-
solving and decision-making.
● Resent case studies of successful green/blue screen projects in the
Teaching and
industry. Discuss challenges faced and solutions implemented.
Learning
● Invite guest speakers who are experts in green/blue screen technology or
Approach
professionals working in the film and video production industry.
● Curate or create online tutorials and resources that students can access
for self-paced learning. Include video demonstrations, articles, and
interactive content.
● Incorporate both formative assessments (quizzes, discussions, in-class
exercises) and summative assessments (final project, presentations) to
evaluate student understanding and application.

MODE OF ASSESSMENT
Assessment 4. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments, Seminars and Class Exercises
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
more details • Project Evaluation – 50 marks
• Viva Voce – 20 Marks

References

1. Ascher, S., & Pincus, E. (2013). The Filmmaker’s Handbook: A Comprehensive Guide for
the Digital Age. Plume.
2. Brown, B. (2021). Cinematography: Theory and Practice. Routledge.
3. Christiansen, M. (2014). Adobe® After Effects® CC: Visual Effects and Compositing:
Studio Techniques. Peachpit, A Division Of Pearson Education.
4. Fielding, R. (2005). The Technique of Special Effects Cinematography. Oxford Focal.
5. Foster, J. (2015). The Green Screen Handbook: Real-World Production Techniques. Focal
Press.
6. Hanke, J., & Terpstra, M. Y. (2016). GreenScreen Made Easy: Keying and Compositing
Techniques for Indie Filmmakers. Michael Wiese Productions.
7. Jago, M. (2019). Adobe Premiere Pro CC Classroom in a Book. Adobe.
8. Jackman, J. (2012). Lighting for Digital Video and Television. CRC Press.
9. Van Hurkman, A. (2014). Colour Correction Handbook: Professional Techniques for Video
and Cinema. Peachpit Press.
10. Wright, S. (2017). Digital Compositing for Film and Video: Production Workflows and
Techniques. Taylor & Francis Ltd.

Page 105 of 282

BASICS OF ACTING

Mahatma Gandhi University

Kottayam

Programme

Course Name BASICS OF ACTING

Type of
SEC
Course

Course Code MG4SECMLM200

Course Level 200-299

The Media and Actor Studies course offers students a dynamic journey into
the realms of media and acting, bridging theory with practice to foster a
comprehensive understanding of storytelling, performance, and production.
Throughout the course, students delve into the historical, cultural, and social
Course contexts that shape both media narratives and theatrical performances,
Summary analyzing texts, techniques, and ideologies. From the theoretical
foundations of media studies to the practical applications of acting methods,
students explore the intricacies of character development, narrative
structures, and the power dynamics inherent in media representation.

Semester IV Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 106 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Students learn how media and acting intersect to shape U 1,2

narratives and influence audiences.

2 Understand acting evolution to contextualize performances C, S 1, 4

within historical and cultural frameworks.

3 Explore Indian classical theatre and Western drama, E, An, S 3, 6

understanding their cultural, historical, and aesthetic
dimensions.

4 Cultivate analytical skills to interpret plays, understanding E, An, AP 7, 10

character dynamics, themes, and narrative structures.

5 Understand evolving acting techniques to contextualize U 1,2

performances within historical and cultural frameworks.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate I, Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Media and Acting

Understanding the role of media in

1.1 society-Cultural Influence -Role in 3 1, 2, 3
Democracy-Media Bias-Stereotyping-
1
Media Literacy.

Introduction to various forms of media

1.2 3 1, 2,3
(film, television, theatre, etc.)

Page 107 of 282

 Basics of acting: expression-body
1.3 4 2, 3
language-voice modulation.

History of Acting

Introduction to Acting History: Definition

of acting and its significance in human
2.1 culture-Overview of ancient forms of 4 1, 4
performance (Greek, Roman, Asian)-The
role of acting in religious rituals and
ceremonies

Classical Acting Traditions: Exploration

of classical acting techniques (e.g., Greek
Tragedy, Commedia dell’arte)-Key figures
2.2 and practices in classical theatre (e.g., 4 1,2,5
Aristotle’s Poetics, Shakespearean acting
methods)-Influence of classical acting on
contemporary performance
2

18th and 19th Century Acting: Emergence

of realism in acting and theatre (e.g.,
Stanislavski’s System)-Evolution of
2.3 melodrama and romantic acting styles- 3 1,3,4,5
Theatrical innovations and technological
advancements (e.g., gas lighting, stage
machinery)

Modern Acting Movements-Method

2.5 acting-Brechtian theatre)-Acting in the 20th 3 1,4
Century-Evolution of acting for film and
television.

Natyashastra and Western Theatre

Overview of the Natya Shastra: authorship,

historical context, and significance.

Understanding the concept of Natya

3 3.1 (drama) and its components (Nritta, 3 1,4, 5
Nritya, Natya)

Key themes and principles outlined in the

Natya Shastra

Page 108 of 282

 Theoretical Foundations

Exploration of the concept of Rasa

(aesthetic experience) and its classification

3.2 Understanding the nine Rasas (emotional 3 4,5

states) and their representation in
performance

Analysis of the eight Sthayi Bhavas

(permanent emotions) and their portrayal

Angika Abhinaya (Physical Expression)-

Vachika Abhinaya (Verbal Expression)-
3.3 3 3, 5
Aharya Abhinaya (Costume and Makeup)-
Satvika Abhinaya (Emotional
Expression)- Musical Elements.

Introduction to Western Theatre

Overview of the origins of Western

3.4 theatre: Ancient Greece and Rome-Key 3 3,4,5
characteristics of Greek tragedy and
comedy-Introduction to Roman theatre and
its influence
Play Reading

Overview of the elements of drama: plot,

character, theme, setting, and dialogue-
4.1 Introduction to dramatic structure: 3 1,2,3
exposition, rising action, climax, falling
action, and resolution-Techniques for
close reading and textual analysis of plays

Classical Plays: Study of ancient Greek

and Roman dramas: Sophocles, Euripides,
4 Aeschylus, and Plautus-Analysis of
4.2 classical themes, characters, and dramatic 2 1,2,5
conventions-Discussion of the enduring
relevance of classical plays in
contemporary theatre

Modernist Drama-Contemporary Plays-

4.3 Genre Studies-Adaptations and 2 1,2,4,5
Interpretations

Page 109 of 282

 4.4 Play Reading and Performance-Practical
workshops on script analysis and character
development-Script-in-hand readings of
selected plays with discussion and 2 4,5
analysis-Opportunities for students to
participate in readings and perform
excerpts from plays

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: A hands-on approach is essential, integrating
theoretical knowledge with practical exercises to cultivate skills in
storytelling, performance, and production techniques, fostering
creativity and critical thinking among students through collaborative
Teaching and
projects, industry simulations, and real-world case studies.
Learning
● Interactive Discussions: Encourage active engagement and deeper
Approach
understanding by fostering dialogue, sharing diverse perspectives, and
encouraging critical analysis, enriching the learning experience and
promoting collaboration and peer learning in exploring complex topics
and challenging assumptions.
● Case Studies: provide practical insights into industry practices, enabling
students to apply theoretical concepts to real-world scenarios, fostering
problem-solving skills and enhancing their understanding of
professional challenges and ethical considerations.
● PowerPoint presentations: Offer visual aids to enhance comprehension
of key concepts and facilitate structured delivery of course material,
engaging students with multimedia content while reinforcing learning
objectives and encouraging interactive discussions.
● Classroom assignments: Provide opportunities for hands-on application
of theoretical knowledge, fostering creativity and skill development
through practical exercises, role-playing scenarios, and group projects,
promoting active learning and reinforcing course content through
experiential engagement

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments
• Class exercises

*Please refer
B. Semester End examination
appendix for
more details • Practical examination (acting) – 50 Marks

Page 110 of 282

References

1. Adler, S. (2000). The Art of Acting. Applause Theatre & Cinema Books.
2. Benedetti, J. (2004). Stanislavski: An Introduction. Routledge.
3. Bruder, M., Cohn, L., Olnek, M., Pollack, N., Previto, R., & Zigler, S. (1986). A Practical
Handbook for the Actor. Vintage.
4. Chekhov, M. (2002). To the Actor: On the Technique of Acting. Routledge.
5. Hagen, U., & Frankel, H. (1973). Respect for Acting. Macmillan.
6. Meisner, S., & Longwell, D. (1987). Sanford Meisner on Acting. Vintage.
7. Merlin, B. (2001). Beyond Stanislavsky: The Psycho-Physical Approach to Actor Training. Nick
Hern Books.
8. Stanislavski, C. (1989). An Actor Prepares. Theatre Arts Books.
9. Strasberg, L. (1988). A Dream of Passion: The Development of the Method. Plume.
10. Weston, J. (1996). Directing Actors: Creating Memorable Performances for Film and Television.
Michael Wiese Productions.

Page 111 of 282

BASICS OF DIGITAL DATA

Mahatma Gandhi University

Kottayam

Programme

Course Name BASICS OF DIGITAL DATA

Type of
SEC
Course

Course Code MG4SECMLM201

Course Level 200-299

This course equips participants with essential skills in digital data

management and publication, covering data entry techniques, page setup for
Course publication, and effective data presentation. Through a combination of
Summary theoretical concepts and hands-on exercises, learners will gain proficiency
in handling digital data and creating professional publications.

Semester IV Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 112 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Define digital data and its types. K 1

2 Identify the QWERTY keyboard layout and its importance U

1, 2
in typing

3 Apply exercises and drills to increase typing speed and A

3
efficiency

Analyse typing efficiency tips and apply shortcuts,

4 An 2, 3
autocorrect, and text expansion tools.
Assess case studies and apply advanced data entry
5 techniques to publication projects. S 7, 10

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO

No.

Introduction to Digital Data Basics

Understanding Digital Data: Definition,

1.1 3 1
Types, and Importance

Introduction to Typewriting: History,

Importance, and Modern Applications
Keyboard Layout and Finger Placement:
1 1.2 3 1
Learning the QWERTY Keyboard
Layout and Proper Typing Techniques

Touch Typing Basics: Developing

Muscle Memory, Hand Positioning, and
1.3 3 1,2
Typing Speed

Page 113 of 282

 Accuracy and Error Correction: 3 2,3
1.4 Techniques for Minimizing Errors and
Improving Typing Accuracy

Data Entry Techniques

Building Typing Speed: Exercises and

2.1 Drills to Increase Typing Speed and 4 2,3
Efficiency

Special Characters and Symbols: Typing

2 Numbers, Symbols, and Accented
2.2 3 2,3
Characters

Fundamentals of Data Entry: Accuracy,

2.3 Efficiency, and Data Validation 3 2,3

Advanced Data Entry Techniques

Advanced Typing Skills: Navigating

3.1 Typing Challenges, Handling Long 3 3
Documents, and Improving Accuracy

Touch Typing Mastery: Achieving 3 3

3.2 Expertise in Touch Typing with
Increased Speed and Accuracy

3
Typing for Specific Purposes: Legal and 3 3,4
3.3 Medical Terminology, Technical Terms,
and Specialized Vocabulary

Typing Efficiency Tips: Shortcuts, 3 3,4

3.4 AutoCorrect, and Text Expansion Tools
for Productivity

Advanced Data Entry Techniques

Data Cleaning and Preparation:

Removing Errors, Formatting 2 4,3
4.1
Consistency, and Standardization
4 Advanced Data Entry Methods:
Formulas, Functions, and Automation 5 4,3,5
4.2 Data Analysis Tools: Sorting, Filtering,
and Pivot Tables for Publication

Page 114 of 282

 Case Studies: Applying Advanced Data 4 4,3,5
4.3
Entry Techniques to Publication Projects

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching
• Interactive Lectures: Basics of Digital Data will be covered through
and
interactive lectures where instructors provide theoretical knowledge,
Learning definitions, and explanations.
Approach • Hands-on Workshops: Keyboard Layout and Finger Placement, Touch Typing
Basics, and Data Entry Techniques will be taught through hands-on
workshops. Participants will practice typing exercises and data entry tasks
under the guidance of instructors to develop practical skills.
• Practical Exercises: Building Typing Speed, Special Characters and Symbols,
and Advanced Typing Skills will involve practical exercises and drills.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) - 25 Marks
Types
• Assignments and classroom exercises
*Please refer
B. Semester End examination
appendix for
more details • Project evaluation – 40 Marks
• Viva-Voce - 10 Marks

References
1. Adams, R. (2020). Data Analysis Tools for Publication: Sorting, Filtering, and Pivot Tables.
Atlantic Publishers
2. Brown, B. (2019). Mastering the QWERTY Keyboard: Learning Proper Typing Techniques.
Acme Books.
3. Clark, D. (2016). Accuracy and Error Correction: Techniques for Improving Typing
Accuracy. Golden Press.
4. Garcia, F. (2018). Special Characters and Symbols: Typing Numbers, Symbols, and
Accented Characters. Sigma Books.
5. Johnson, M. (2020). The Complete Guide to Digital Data: Understanding Definitions,
Types, and Importance. ABC Publisher.
6. Roberts, L. (2019). Advanced Data Entry Techniques: Formulas, Functions, and Automation
for Efficient Typing. Penguin Publishing.
7. Smith, A. (2018). Typewriting Through the Ages: History, Importance, and Modern
Applications. XYZ Press.
8. Turner, E. (2021). Building Typing Speed: Exercises and Drills for Increased Efficiency.
Omega Publishers.
9. White, S. (2019). Fundamentals of Data Entry: Ensuring Accuracy, Efficiency, and
Validation. Delta Press.
10. Williams, C. (2017). Touch Typing Basics: Developing Muscle Memory for Increased
Typing Speed. Top Hat Publications.

Page 115 of 282

PHOTOJOURNALISM

Mahatma Gandhi University

Kottayam

Programme

Course Name PHOTOJOURNALISM

Type of
VAC
Course

Course Code MG4VACMLM200

Course Level 200-299

This course introduces students to the principles of photojournalism,

emphasizing historical context, technical skills, visual storytelling, editing,
and ethical considerations. Through a combination of lectures, hands-on
Course
fieldwork, and collaborative projects, students will develop a
Summary
comprehensive understanding of photojournalism and its role in
contemporary storytelling.

Semester IV Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 116 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Students grasp photojournalism's principles, history,

evolution, and significance as a storytelling medium for K 1, 2
effective communication.

2 Students gain camera, exposure, and composition

proficiency, selecting equipment for diverse A 2, 4
photojournalistic situations through practical fieldwork.

3 Acquire visual storytelling skills, identifying compelling

elements and critiquing photo stories, demonstrating C 3, 8
nuanced storytelling understanding.

4 Students grasp photojournalism editing importance, honing

image selection and sequencing skills collaboratively for An 8, 9
impactful visual narratives.

5 Students grasp legal and ethical aspects in photojournalism,

covering copyright, privacy, and ethical challenges,
E 8, 10
demonstrated via case studies and responsible project
execution.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Development of Photojournalism

1.1 Historical overview of photojournalism 3 1

1.2 Evolution of photojournalism 3 1

1

1.3 Significance as a storytelling medium 3 1

Page 117 of 282

 Crafting Narrative Visuals

Camera settings, exposure, and

composition fundamentals, Visual
2.1 4 2,3
Storytelling: Identifying elements of
compelling photo stories.

2.2 Developing narratives through images. 3 3

2

2.3 Critique and analysis of photo stories. 2 3

Importance of editing in
2.4 photojournalism. Techniques for 3 4
selecting and sequencing images.

Ethics and Laws in Photojournalism

Legal and Ethical Considerations:

3.1 Copyright and intellectual property 3 4,5
rights in photojournalism.

3.2 Privacy concerns and ethical 3 5

challenges in the field.
3
Case studies and discussion on ethical
3.3 3 5
dilemmas.

Advanced Techniques and Fieldwork:

3.4 Advanced camera techniques: low 3 5
light, motion, etc.

Experiencing Photojournalism

Fieldwork exercises in various

4 4.1 photojournalistic situations. Feedback 3 5,4
and refinement of skills.

Page 118 of 282

 Project Preparation: Planning and
4.2 executing a photo story. Applying 4 4,5
legal and ethical considerations.

4.3 Presentation of final photo stories 10 4,5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Introduction to course objectives, expectations, and assessment methods.
Overview of syllabus, schedule and resources.

● Interactive lectures on photojournalism principles, history and

importance. Open discussions and question-and-answer sessions to
encourage student participation. Guest lectures by professionals in the
field to provide real-world insights.

● Practical application of theoretical concepts through fieldwork exercises.

Group and individual assignments in different photojournalistic
Teaching and scenarios. Debrief sessions to discuss field experiences and challenges.
Learning
● Encouragement for students to maintain reflective journals to document
Approach
their learning journey. Periodic reflection sessions to discuss personal
growth, challenges, and improvements.

● Invitations to guest speakers for specialized topics or industry insights.

Networking opportunities for students through interactions with
professionals.

● Guidance on planning and executing the final photo story project. Peer
review sessions to receive feedback on project concepts. Final
presentations of photo stories, followed by reflections on the entire
learning experience.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 25 marks

• Assignments and class exercises

• Fieldwork reports
*Please refer
B. Semester End examination
appendix for
more details • Project Evaluation - 50 Marks

Page 119 of 282

References

1. Allan, S. (2017). Photojournalism and Citizen Journalism. Taylor & Francis.

2. Brennan, B., & Hardt, H. (1995). Picturing the past: Media, history, and photography. University of
Illinois Press.
3. Burrows, D. (1995). Photojournalism: An Introduction. Focal Press.
4. Evensen, B. J. (2008). The Responsible Reporter: Journalism in the Information Age. Peter Lang
Publishing.
5. Grosvenor, E. S. (1996). The Best of Photojournalism: Newspaper and Magazine Pictures of the
Year. Running Press Book Publishers.
6. Halstead, D. (2004). Photojournalism and Today's News: Creating Visual Reality. Wiley-Blackwell.
7. Hicks, W. (1999). Writing for Journalists. Routledge.
8. Kobre, K. (2008). Photojournalism: The Professionals' Approach. Focal Press.
9. Newton, J. H. (2001). The Burden of Visual Truth: The Role of Photojournalism in Mediating
Reality. Routledge.
10. Ritchin, F. (2013). Bending the Frame: Photojournalism, Documentary, and the Citizen. Aperture.

Page 120 of 282

INTERNSHIP

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name INTERNSHIP

Type of
INT
Course

Course Code MG4INTMLM200

Course Level 200-299

An internship, or on-the-job training, enables the apprentice to acquire

practical industry-based experience and helps them to assimilate
Course
professionalism in their career. Internships offer learners a period of
Summary
practical experience in the industry relating to their field of study.

Semester IV Credits 2
Total
Lecture Tutorial Practical/ Others Hours
Practicum
Course Details Learning
Approach

Pre-requisites,
if any

Page 121 of 282

GUIDELINES FOR INTERNSHIP

• An undergraduate in Multimedia needs to undergo a professional training at a media production firm /

film production unit for a period of one month.

• The intern should prepare individual reports with a certificate from the organization under which he/she
did the internship.

• The Internship report should be verified and assessed for evaluation by the faculty in charge.

Internship Evaluation Scheme

I. Components and distribution of marks of internal evaluation – 15 Marks

• Initiative - 3 Marks
• Professionalism and work ethics - 5 Marks
• Contribution to society and organization - 7 Marks
II. Components and distribution of marks of Final evaluation. - 35 Marks

• Report - 20 Marks
• Viva-voce - 15 Marks

Page 122 of 282

SEMESTER - V

Page 123 of 282

GROWTH OF CINEMA

Mahatma Gandhi University

Kottayam

Programme BA (HONORS) MULTIMEDIA

Course Name GROWTH OF CINEMA

Type of
DSC-A (MAJOR)
Course

Course Code MG5DSCMLM300

Course Level 300-399

The "Growth of Cinema" course offers a comprehensive journey from

cinema's inception to contemporary trends and future directions. It explores
the birth of cinema, the Golden Age of Hollywood, New Waves, Modern
Course
Movements, Evolution of Indian Cinema, and Contemporary Trends.
Summary
Through historical, cultural, and technological insights, students gain a
profound understanding of cinematic narratives.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 124 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Observe with knowledge and reflect upon the articulation
1 of a film's content, form and structure. U 1

Illustrate the relationship between film form and its

2 historical and cultural contexts. A 2, 3

Identify how a film offers a set of social, political and

3 cultural ideas and questions through form and content. A 3, 4

Analyse the formal and stylistic elements of film thereby

4 develop an understanding of film language and An 3, 8
terminology

Interpret the ways in which film language constructs

5 meaning and ideology. E 8, 10

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Foundations of Cinema

Introduction to Cinematic History

- Definition and origins of
1.1 cinema, Pioneers of early motion 4 1,2
pictures (Lumière Brothers,
Georges Méliès)

1
Silent Cinema Era (1895-1927) -
Silent film movements (German
Expressionism, Soviet Montage) -
1.2 4 1,2
Notable silent film directors -
Technological advancements in
silent film production

Page 125 of 282

 Transition to Sound (1927-1930)
- The impact of "The Jazz Singer"
on the industry, Challenges and
1.3 4 1,2
innovations in early sound
technology - Influence on film
narrative and production

Golden Age of Hollywood

Classical Hollywood Cinema

(1930s-1950s) - Studio system
and major Hollywood studios,
2.1 4 2
Genres and the star system,
Iconic films and directors of the
era

World War II and Cinema -

Hollywood's role in wartime
2.2 propaganda, Post-war impact on 4 2
film production and content,
2 Emergence of film noir

Rise of International Cinema -

Influential international
2.3 movements (Italian Neorealism, 4 2,3
French New Wave),
Globalization of film industry

Hollywood in Transition (1950s-

1960s) - Impact of television on
cinema, Rise of independent
2.4 3 2,3
filmmaking, Technological
advancements (widescreen,
colour)

New Waves and Modern Movements

New Hollywood and American

Cinema (1960s-1970s) - Auteur
theory and its impact on
3.1 4 2,3,4
filmmaking, Countercultural
3 influence on cinema, Blockbusters
and the rise of franchises

Global Cinematic Movements

3.2 (1970s-1980s) - Emergence of 4 3,4
Third Cinema - Asian cinema

Page 126 of 282

 renaissance - Latin American
cinema and political narratives

Digital Revolution (1990s-2000s) -

Transition from analog to digital
3.3 filmmaking, Special effects and 4 3,4
CGI in cinema, Impact on
storytelling and film distribution

Postmodern Cinema (2000s-2010s)

- Deconstruction of traditional
narrative structures - Influence of
3.4 4 3,4
technology on storytelling -
Diversity and representation in
cinema

Evolution of Indian Cinema

Introduction to Indian Cinema -

Emergence of the Indian film
industry - Silent Cinema and
4.1 Transition to Sound - Golden Age 4 3,4,5
of Indian Cinema (1950s-1960s)-
Socio-political context shaping
narratives

Parallel Cinema Movement

(1970s-1980s) - Rise of alternative
cinema in India-Exploration of
socially relevant themes - Regional
4.2 4 4,5
Cinema in India - South Indian
4 cinema: Tamil, Telugu,
Malayalam, Kannada-Unique
characteristics of regional cinema

Bollywood's Global Impact (1990s

onwards) - Cultural representation
and stereotypes
Contemporary Trends in
4.3 Bollywood - Evolving storytelling 4 4,5
techniques - Technological
advancements in filmmaking -
Bollywood's response to societal
shifts

Page 127 of 282

 New Wave and Independent
Cinema - Technological
Innovations in Indian Cinema -
Impact of digital filmmaking -
Special effects and visual
advancements - Integration of
technology in storytelling
4.4 5 4,5
Significance of film festivals in
India - Recognition and awards for
Indian films
Contemporary Challenges in
Indian Cinema - Economic
challenges and industry dynamics,
Societal and cultural criticisms

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: A hands-on approach is essential, integrating
theoretical knowledge with practical exercises to cultivate skills in
storytelling, performance, and production techniques and fostering
creativity and critical thinking among students through collaborative
projects

● Interactive Discussions: Encourage active engagement and deeper

understanding by fostering dialogue, sharing diverse perspectives, and
encouraging critical analysis, enriching the learning experience and
Teaching and promoting collaboration and peer learning in exploring complex topics
Learning and challenging assumptions.
Approach
● Power Point presentations: Offer visual aids to enhance comprehension
of key concepts and facilitate structured delivery of course material,
engaging students with multimedia content while reinforcing learning
objectives and encouraging interactive discussions.

● Classroom assignments: Provide opportunities for hands-on application

of theoretical knowledge, fostering creativity and skill development
through practical exercises, role-playing scenarios, and group projects,
promoting active learning and reinforcing course content through
experiential engagement.

Assessment MODE OF ASSESSMENT

Types
A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments and Classroom works

• Seminars

Page 128 of 282

 B. Semester End examination
Theory Exam for 70 marks
• Part A
Short Answer (5 out of 7) 2 x 5 = 10 Marks
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
Essay (2 out of 4) 15 x 2 = 30 Marks

References

1. Bordwell, D., & Thompson, K. (2003). Film History: An Introduction. McGraw-Hill

Education.
2. Cook, D. A. (2004). A History of Narrative Film. W. W. Norton & Company.
3. Dharap, B. V. (1983). Indian Cinema and Culture. The Asiatic Society.
4. Elsaesser, T., & Hagener, M. (2015). Film Theory: An Introduction through the Senses.
Routledge.
5. Gomery, D. (2018). The History of Cinema: A Very Short Introduction. Oxford University
Press.
6. Joshi, L. M. (2002). Bollywood: Popular Indian Cinema. Dakini Books.
7. Monaco, J. (2009). How to Read a Film: Movies, Media, Multimedia. Oxford University
Press.
8. Neale, S. (2000). Genre and Hollywood. Routledge.
9. Nowell-Smith, G. (1997). The Oxford History of World Cinema. Oxford University Press.
10. Rajadhyaksha, A. (2009). Indian Cinema in the Time of Celluloid: From Bollywood to the
Emergency. Indiana University Press.

Page 129 of 282

 Mahatma Gandhi University
Kottayam

PRODUCTION DESIGN - II

Programme BA (HONS) MULTIMEDIA

Course Name PRODUCTION DESIGN - II

Type of
DSC-A (MAJOR)
Course

Course Code MG5DSCMLM301

Course Level 300-399

This course delves into the intricate interplay between space, costume,
makeup, and props in visual storytelling. Explore how these elements shape
narratives and characters in theatre, film, and television. Learn the nuances
of designing costumes and makeup, identifying suitable properties, and
Course
crafting diverse sets, from indoor to virtual. Dive into scale, materials, and
Summary
execution techniques, culminating in the creation of detailed miniature sets.
Embrace the artistry and technicality of visual narrative creation in this
comprehensive course.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 130 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Demonstrate an understanding of the impact of space on

storytelling, identifying key elements within a visual K, U 1,2,3
narrative space.

2 Explain the significance of different types of costumes and

U, A 2,3
makeup in various visual mediums.

3 Apply their knowledge of set design principles to identify the

U, A, An 3,5,6
type of set needed for a specific narrative and to design sets.

4 Analyse the process of creating sets, including the selection

of materials, manpower, budget considerations, time
A, An, E 3,4,7,9
constraints, and geographic limitations, to effectively
produce sets for different visual storytelling platforms.

5 Synthesize their understanding of various elements to create

1,2,3,4,
detailed floor plans, elevations, and miniature sets, A, An, E, C,
5,6,7,8,
culminating in a well-presented final project demonstrating S
9,10
their mastery of visual narrative space.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

CO
Module Units Course description Hrs
No.

Visual Narrative Space

Understanding the impact of space on

1.1 3 1
storytelling.
1
Creating a visual environment for a
1.2 specific narrative. 3 1

Page 131 of 282

 Elements included in a visual narrative
space – Characters, Costume, Makeup,
1.3 Lighting, Properties, Architecture, 4 1
Environmental elements, and
Stimulators… etc.

Costume and Makeup

Different types of costumes: Realistic

and symbolic costumes.

Costumes for Theatre and Film.

2.1 5 2
Designing of costumes concerning
character, actor, lighting conditions,
equipment using for filming, budget
…etc.

Different types of Makeup

2.2 Makeup for Stage, Ramp, Television, 5 2

Film, Advertisement…etc.

Knowing the character - features of an

2
actor.
2.3 Creating a character 10 2
Makeup and Lighting

Different Types of Properties

Property for Theatre– Drama (amateur

2.4 3 2, 3
and professional)
Property for Stage and Property for
Television

Property for Film – identifying the

correct property for the story setting.
2.5 3 2, 3
Different Materials for creating
Properties (for various budget levels).

Creating a Set

Different Types of Sets - Indoor Sets,

Outdoor Sets, Practical Sets, Partial Sets,
Standing Sets, Modular Sets, Green
3 3.1 5 3
Screen Sets, Miniature Sets, Location
Sets, Virtual Sets.

Page 132 of 282

 Difference between traditional set
designing and AI assisted Set designing.

Identifying the type of set needed and

designing a set.
3.2 3 3. 4
Research and Analysis-
Conceptualization and Interpretation

Creating a set – Processes involved,

Materials, Manpower, Budget
3.3 3 3, 4
constraints, Time constraints,
Geographic constraints…etc.

Creating a Miniature Set

Scale and Proportions

4.1 10 5
Drawing floor plans and elevations

4 Material and Medium Selection -

4.2 15 5
Technical Execution- Colour Matching -

Documentation and Process - Artistic

4.3 3 5
Statement - Presentation

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: Lectures with Unlock the visual language of

storytelling and brand identity in this art direction lecture, where we delve
Teaching
into the fusion of aesthetics and strategy to create compelling narratives and
and
memorable designs.
Learning
Approach ● Interactive Discussions: Engage students in an interactive dialogue on the
dynamic intersection of creativity and strategy in art direction, exploring
how visual choices shape narratives, evoke emotions, and build powerful
brand identities

Page 133 of 282

 ● Case Studies: An in-depth exploration of a successful art direction case
study, unravelling the strategic visual choices that propelled a campaign to
success and left a lasting impact in the industry.

● Power Point presentations: Elevate students understanding of Art Direction

through a dynamic PowerPoint presentation, unravelling the principles,
strategies, and visual storytelling techniques that define impactful creative
direction.

● Class room assignments: Immerging students in real-world scenarios with

thought-provoking classroom assignments in Art Direction, where they can
apply design principles to solve creative challenges, fostering practical skills
and critical thinking.

MODE OF ASSESSMENT
Assessment
Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments, Seminars
• Class Exercises

*Please refer B. Semester End examination

appendix for
more details • Project evaluation (miniature set) – 50 Marks
• Viva-Voce – 20 Marks

References

1. Andersen, M. (2009). Costume Design. Routledge.

2. Bensimon, P. (2014). Production Design: Architects of the Screen. Images Publishing Group.
3. Block, P. (2013). Set Design: A Practical Guide to Designing and Building Stage Sets. Crowood
Press.
4. Davis, T. (2015). Stage Makeup: The Actor's Complete Guide to Today's Techniques and Materials.
Watson-Guptill.
5. DeFazio, A., & DeFazio, C. (2010). The Makeup Artist Handbook: Techniques for Film, Television,
Photography, and Theatre. Routledge.
6. Gillette, J. M., & Gillette, B. C. (2016). Scene Design and Stage Lighting. Cengage Learning.
7. Gillette, J. M., & Gillette, B. C. (2017). Theatrical Design and Production: An Introduction to Scene
Design and Construction, Lighting, Sound, Costume, and Makeup. McGraw-Hill Education.
8. Heller, S. (2009). Art direction explained, at last!. Laurence King Publishing.
9. Kent, A. (2018). Film Production Design: An Introduction. Wallflower Press.
10. Shorter, G. (2012). Designing for screen: Production and art direction explained. Crowood.

Page 134 of 282

INTRODUCTION TO VISUAL EFFECTS

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name INTRODUCTION TO VISUAL EFFECTS

Type of
DSC-A
Course

Course Code MG5DSCMLM302

Course Level 300-399

This course provides an introduction to the world of visual effects (VFX),

covering key concepts, techniques, and software used in the industry.
Course
Learners will gain a foundational understanding of VFX principles and have
Summary
hands-on experience with industry-standard software.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 135 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Recall fundamental terminology and concepts related to

visual effects. Identify key components of the visual effects K 2, 3
pipeline and their respective roles.

2 Explain the underlying principles behind common visual

effects techniques. Analyse the impact of visual effects on U 1, 2
storytelling and audience engagement

3 Demonstrate proficiency in using industry-standard software

tools for visual effects production. Apply acquired A, E 3, 9
knowledge to solve basic visual effects challenges.

4 Critically assess the visual effects in film and other media,

identifying their contribution to the overall narrative.
E 3, 4
Formulate constructive critiques of visual effects sequences,
considering both technical and artistic aspects.

5 Design and execute simple visual effects sequences

independently. Integrate visual effects seamlessly into a
C 3, 10
given media project, showcasing creativity and technical
proficiency.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

Page 136 of 282

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Definition and History of Visual Effects

Introduction to Visual Effects: Definition of Visual

effects, Comparison with Visual effects & Special
1.1 Effects, Common applications of Visual effects. 7 1

Overview of VFX in film, television, and other

media.
1

VFX Categories and Applications: Different types

of visual effects (CGI, compositing, motion
1.2 7 1
graphics), Applications in various industries

Overview of industry-standard software

VFX Software Basics

Introduction to industry-standard VFX software

2.1
(e.g., Adobe After Effects, Nuke). Basic navigation,
tools, and workspace setup.
2 10 1,2

Compositing Fundamentals: Exploring the basics of

2.2 compositing, Layers, shapes, texts and blending
modes

Techniques of Visual effects

3.1 Track mattes luma, Alpha matte, Animated mattes, 10 3

Masks, Animated [Link] Light & Camera

3.2 Chroma Keying, Colour correction, Basic roto & 10 3

compositing with roto

Visual Effects

Page 137 of 282

 Particle systems, explosions, and fire effects, Snow,
4.1 rain, wave 15 3,5

4
Introduction to motion tracking & Camera
4.2 16 3,5
Tracking. Motion stabilization

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Integrate hands-on learning experiences and practical exercises throughout the

course. Encourage students to actively apply concepts through guided projects,
allowing them to reinforce their understanding of Visual Effects .
Teaching
and Learning ● Guide students through the essential features and functionalities of raster
Approach graphics software, ensuring they are comfortable navigating and utilizing the
tools.

● Assign a hands-on project that allows participants to apply concepts learned.

● Encourage participants to create a Visual Effects based on given criteria.

Facilitate a group critique session to discuss each participant's work.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types • Assignments and Seminars
• Mini Project Presentation
*Please refer
appendix for
more details B. Semester End examination
• Practical Examination - 70 marks

References

1. Alten, S. R. (2013). Audio in Media. Cengage Learning.

2. Brinkmann, R. (2010). The Art and Science of Digital Compositing: Techniques for Visual Effects,
Animation and Motion Graphics. Morgan Kaufmann.
3. Ganbar, S. (2018). Nuke 101: Professional Compositing and Visual Effects. Peachpit Press.
4. Jerrard, R. (2014). The Focal Easy Guide to Adobe After Effects: For New Users and Professionals.
Routledge.
5. Langton, C. (2018). The VES Handbook of Visual Effects: Industry Standard VFX Practices and
Procedures. Focal Press.

Page 138 of 282

6. Prince, S. (2012). Digital Visual Effects in Cinema: The Seduction of Reality. Rutgers University
Press.
7. Shapiro, A., & Cohen, A. (2017). The Art and Science of Digital Compositing: Techniques for
Visual Effects, Animation and Motion Graphics. Morgan Kaufmann.
8. Shelmerdine, G. (2017). Nuke 101: Professional Compositing and Visual Effects. Peachpit Press.
9. Smith, S. (2010). Understanding Visual Effects: The Essentials of VFX for Film and Television.
Routledge.
10. Wright, S. (2016). The Visual Effects Producer: Understanding the Art and Business of VFX.
Routledge.

Page 139 of 282

SCRIPTING FOR VARIOUS MEDIA

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name SCRIPT WRITING FOR VARIOUS MEDIA

Type of
DSE
Course

Course Code MG5DSEMLM300

Course Level 300-399

In the “Scripting for Various Media” course, students explore the synergy
between storytelling and visual elements in filmmaking. They learn to craft
narratives beyond dialogue, emphasizing vivid scene descriptions and
visual metaphors. Practical exercises facilitate the application of these
Course
concepts, empowering students to create scripts with enhanced depth and
Summary
resonance. Upon completion, students possess the skills to convey nuanced
meaning, fostering a comprehensive approach to screenplay writing that
resonates intellectually and emotionally with audiences.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 60

Pre-requisites,
if any

Page 140 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Recognize emerging trends in filmmaking, storytelling, and K 1, 7

scriptwriting, including new methods and technologies
shaping the industry.

2 Understand the specific requirements and techniques for K,U 3, 4

scripting CGI, animation, set direction, art direction, and
VFX integration.

3 Apply creative sound design principles, contrast in sound A 2, 3

levels, and various sound components effectively in
screenplay writing and film production.

4 Analyse and evaluate different approaches to writing for An 3, 4

documentaries, web series, and non-fiction, considering
audience, platform, and narrative structure.

5 Synthesize knowledge of scriptwriting software, selecting E,C 3, 7

appropriate tools for screenplay creation and collaborating
effectively in the writing process.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

Page 141 of 282

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Emerging Trends in Filmmaking, Storytelling, and Script Writing

New Trends in Film Making - Virtual Production-

Remote Filmmaking- AI- Immersive
Storytelling- Short-Form Content- Diversity and
1.1 Inclusion- Streaming Services Dominance- 3 1
Hybrid Releases- Eco-Friendly Filmmaking-
Interactive Filmmaking- NFTs in Filmmaking-
Experimental Cinematography Techniques

New Trends in Story Telling- Interactive and

Immersive Experiences- Transmedia
Storytelling- Serialized Storytelling- Short-Form
Content- Podcasts and Audio Dramas- User-
1
Generated Content- Personalized and Adaptive
1.2 Storytelling- Diversity and Inclusion in 3 1

Storytelling- Non-Linear Storytelling- Social

Media Stories-

Augmented Reality (AR) Storytelling- Nostalgia

and Retro Storytelling

New Methods in Script Writing- Collaborative

Screenwriting Tools- Virtual Reality (VR)
1.3 3 1
Scriptwriting- AI-Assisted Scriptwriting-
Interactive Storytelling Platforms

Advanced Scriptwriting for Visual Effects and Art Direction

Page 142 of 282

 CGI and Animation Script - Clearly Define
Scenes- Use Visual Cues- Detailed Descriptions
for CGI/Animation- Specify Animation Styles-
Integrate Live Action Seamlessly- Technical
2.1 4 2
Feasibility- Collaborate with VFX and Animation
Teams- Character Interactions- Environmental
Effects- Sound and Music Integration- Use
Storyboards- Maintain Consistency

2
Script for Set and Art Direction- Scene
Introductions- Describe Atmosphere and Mood-
Specify Set Elements- Highlight Important Props-
2.2 4 2
Consider Period and Style- Set Changes and
Transformations- Spatial Relationships- Weather
and Lighting-

2.3 Understanding VFX- Chroma - DI 5 2

Cinematic Sound: Exploring Creative Sound Design and Narrative Techniques

Creative Use of Sound - Diegetic vs. Non-

Diegetic Sound- Silence for Emphasis-
3.1 Soundscapes and Ambient Noise- Off-Screen 4 3
Sound- Sound Design for Emotional Impact-
Rhythmic Sound Editing

Contrast in Sound Levels- Voiceover Narration-

Manipulating Perspective with Sound- Sound
3
Symbolism- Creative Foley Artistry- Musical
3.2 4 3
Themes and Leitmotifs- Sound as a Character-
Sound Transitions- Experimental Sound
Techniques

Sound Components in Film- Dialogue- Sound

3.3 Effects (SFX)- Music and Score- Silence and 6 4
Absence of Sound

Page 143 of 282

 Techniques and Tools for Non-Fiction and Web Series Writing

Writing for Documentary/ Non-Fiction -

Research Extensively- Define Your Story and
Message- Craft a Compelling Narrative- Create a
Treatment - Identify and Develop Characters-
Interview Preparation- Balance Information and
4.1 Emotion- Utilize Visual Storytelling- Consider 8 4
the Tone- Craft a Strong Opening- Pacing and
Rhythm- Fact-Checking- Voiceover and
Narration- Create a Strong Conclusion- Material-
Legal and Ethical Considerations- Collaborate
with a Team-

4 Writing for Web series- Understand the Platform-

Define Your Audience- Shorter Episode Lengths-
Strong Opening- Engaging Visuals- Episodic
Structure- Character Development- Web-
4.2 Friendly Writing Style- Social Media Integration- 8 5
Release Strategy- Interactive Elements- Budget-
Feedback- Diversity of Content- Collaborate with
Influencers- Optimize for Mobile Viewing- Call
to Action- Adaptability

Script Writing Software’s – Celtx- Fade In- Final

Draft- WriterDuet- Scrivener- Movie Magic
4.3 8 5
Screenwriter- Trelby- Highland- StudioBinder-
KIT Scenarist

5 TEACHER SPECIFIC MODULE

Page 144 of 282

 Classroom Procedure (Mode of transaction)

● Introduction to New Trends in Film Making and Storytelling: Explore

new filmmaking trends like virtual production and AI. Discuss
streaming services' impact in a 120-minute interactive session,
brainstorming script ideas.
● CGI, Animation, and Set Scripting Techniques: Delve into CGI and
animation scriptwriting, focusing on integrating live action seamlessly.
In a 90-minute practical workshop, groups create script excerpts with
CGI/animation elements, followed by peer review.
Teaching and
● Sound Design and Components in Film: Examine sound's narrative
Learning
role, including diegetic vs. non-diegetic distinctions. In a 90-minute
Approach
workshop, apply sound creatively to a script, followed by analysis.
● Writing for Documentary and Web Series: Delve into documentary
scriptwriting nuances, covering tone and legal aspects. In a 90-minute
workshop, create web series script excerpts, focusing on episodic
structure and engagement.
● Script Writing Software and Industry Tools: Software demonstration,
explore script writing tools like Celtx and Final Draft. A 60-minute peer
review session provides feedback on scripts.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types
• Assignments, Seminars and Class works
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
• Project evaluation – 50 Marks
more details
• Viva-Voce – 20 Marks

Page 145 of 282

References

1. Glatzer, J. (2007). Make a Scene: Crafting a Powerful Story One Scene at a Time. Chronicle Books.
2. McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. New
York, NY: HarperAudio.
3. Penner, S. (n.d.). Screenwriting for AI: Writing Scripts for Robots. Focal Press.
4. Price, S. (2012). The Screenwriter’s Workbook: Exercises and Step-by-Step Instructions for
Creating a Successful Screenplay. Delta.
5. Rosenthal, A., & Eckhardt, N. (2015). Writing, directing, and producing documentary films and
digital videos: Fifth edition (5th ed.). Carbondale, IL: Southern Illinois University Press.
6. Smith, G. M. (2011). Writing Movies for Fun and Profit: How We Made a Billion Dollars at the
Box Office and You Can, Too!. Touchstone.
7. Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice, and Sound Effects
in Cinema. Michael Wiese Productions.
8. Trottier, D. (2014). The Screenwriter’s Bible: A Complete Guide to Writing, Formatting, and
Selling Your Script. Silman-James Press.
9. Viers, R. (2011). Sound effects bible: How to create and record Hollywood style sound effects.
Michael Wiese Productions.
10. Vogler, C. (2007). The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions.

Page 146 of 282

ADVANCED VIDEOGRAPHY

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name ADVANCED VIDEOGRAPHY

Type of
DSE
Course

Course Code MG5DSEMLM301

Course Level 300-399

This comprehensive course delves into the intricacies of filmmaking across

four modules. Module I explore dramatic structure, filmic space, and time,
emphasizing the interplay between physical and emotional continuity.
Module II focuses on light quality, character, and composition, integrating
practical lamps and advanced techniques. Module III covers sound
Course
definition, creative utilization, and the significance of synchronized and
Summary
asynchronized sound. Module IV delves into the language of cinema,
including auteur theory and shot juxtapositions, providing insight into
screen motion and player interactions. Through this course, students gain a
holistic understanding of cinematic craft.

Semester V Credits 4
Total
Practical/ Hours
Lecture Tutorial Others
Practicum
Course Details Learning
Approach
3 1 60

Pre-requisites,
if any

Page 147 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Mastering narrative construction with dramatic structure,
1 filmic elements, ensuring continuity, captivating
U, A 1, 2
audiences with storytelling techniques.
Students gain expertise in light manipulation, using lamps,
2 and intricate composition for captivating visuals. A,An 2, 3

Cultivate adeptness in synchronizing sound, seamlessly

3 fusing it with visuals for immersive cinematic experiences. A,, E 3, 4

Students master cinematic language, Auteur Theory, shot

4 juxtapositions, screen motion, and effective master shots. An, A 3, 7

Expertise in motion, player dynamics, and master shots for

5 cohesive storytelling proficiency gained. A 3, 9

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Exploring Narrative Dynamics in Film

Discussions on narrative construction, filmic

1.1 2 1
space, and time elements in film.

Analyses of films illustrating emotional and

1 1.2 physical continuity in storytelling. 5 1

Case studies on higher montage forms and

1.3 5 1
their impact on intellectual communication.

Mastering Visual Storytelling: Advanced Lighting, Composition, and Aesthetics

2 Hands-on sessions manipulating light quality

2.1 5 2
and practical lamps.

Page 148 of 282

 Demonstrations on employing advanced
2.2 composition techniques using lines, shapes, 5 2
tones, and colour.

Studio exercises focusing on visual aesthetics

2.3 6 2
and creating captivating visual narratives.

Cinematic Sound: Creative Techniques and Integration Strategies

Workshops on sound manipulation and

3.1 6 3
synchronization with visuals.

Practical exercises illustrating the creative use

3 3.2 4 3
of synchronized and asynchronized sound.

Analysis of films highlighting effective sound

3.3 4 3
integration for immersive experiences.

Language of Cinema: Auteur Theory to Screen Dynamics

Lecture series on Auteur Theory, shot

4.1 juxtapositions, and understanding cinematic 3 4,5
language.

Practical demonstrations and exercises on

4
4.2 screen motion, player dynamics, and master 5 4,5
shots.

Film screenings followed by discussions

4.3 10 4,5
analysing screen motion and shot composition.

5 TEACHER SPECIFIC MODULE

Page 149 of 282

 Classroom Procedure (Mode of transaction)
● Engage students through interactive lectures focusing on theoretical
concepts such as dramatic structure, visual storytelling, lighting,
composition, sound design, and cinematic language. Encourage
discussions, debates, and critical analysis of films, allowing students to
explore diverse perspectives and interpretations.

● Conduct hands-on workshops demonstrating lighting techniques,

composition methods, and sound manipulation, providing students with
practical skills. Utilize studio sessions and practical exercises to allow
students to apply theoretical knowledge in a controlled environment.

● Organize screenings of relevant films, followed by in-depth discussions

and analyses focusing on cinematic language, shot compositions, sound
integration, and narrative structures. Encourage students to dissect and
Teaching and evaluate the techniques used in these films to enhance their
Learning understanding of the course concepts.
Approach
● Assign projects that require students to apply their learning across
modules. For instance, they can create short films or visual narratives,
incorporating elements of lighting, composition, sound, and narrative
structure. Provide opportunities for peer reviews and critiques, fostering
collaborative learning and constructive feedback.

● Invite industry professionals, cinematographers, filmmakers, or sound

designers to share their experiences and insights, providing real-world
exposure and current industry practices.

● Encourage students to conduct independent research on specific topics

within the modules and present their findings, promoting critical thinking
and in-depth understanding.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment
Types
• Assignments, Seminars and Class works
• Mini Project Presentation

*Please refer
B. Semester End examination
appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

Page 150 of 282

References

1. Ascher, S., & Pincus, E. (2007). The filmmaker’s handbook: A comprehensive guide for the digital
age. Plume.
2. Block, B. A. (2013). The visual story: Creating the visual structure of film, TV and digital media.
Focal Press.
3. Brown, B. (2013). Cinematography: Theory and Practice. Taylor & Francis.
4. Corrigan, T. (1989). A Short Guide to Writing about Film. Pearson Scott Foresman.
5. Katz, S. D., Michael Wiese Productions, & Press, F. (2006). Film directing shot by shot: Visualizing
from concept to screen. Michael Wiese Productions; Stoneham.
6. Murch, W. (2001). In the Blink of an Eye. Weidenfeld & Nicolson.
7. Sonnenschein, D. (2001). Sound design: The expressive power of music, voice, and sound effects in
cinema. Studio City, Calif. Michael Wiese Productions.
8. Bordwell, D., & Thompson, K. (2010). Film art: An introduction. McGraw-Hill.
9. Giannetti, L. D. (2014). Understanding movies. Pearson.
10. Thompson, K. (2008). Storytelling in the new Hollywood: Understanding classical narrative
technique. Harvard University Press.

Page 151 of 282

DIALOGUE EDITING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name DIALOGUE EDITING

Type of
DSE
Course

Course Code MG5DSEMLM302

Course Level 300-399

This course dive deep into crafting compelling narratives through dialogue
Course editing. Students will master the essential tools and techniques that elevate
Summary dialogue and drive emotion in storytelling.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 60

Pre-requisites,
if any

Page 152 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Understanding the Techniques of Dialogue Sequence U 1,2,10

Editing.

2 Understand and Apply Cross Cut & Eye-line Match U,A 1,2,10

3 Understand and Apply Cutaways and Inserts - Importance U,A 1,2,10

and Placement.

4 Analyse the various editing techniques and evaluate the An, E 1,2,3,7,
placement of each technique 10

5 Create a Dialogue Sequence from the given Shots. C 1,2,10

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

CO
Module Units Course description Hrs
No.

Organizing Media
How to watch footage - Taking notes,
1.1 Organising, What good and what not. 5 1

A Brief History of Classic Dramatic

1.2 4 1
Films.
1
Types of Dialogue Sequence - First
1.3 person, Second person, Voice over, 4 1
Narration etc

How to cut a dialogue scene - L cut and J

1.4 5 1
cut, Matching Emotion, Eyeline Match

Rule of Six

Page 153 of 282

 2.1 Rule of Six by Walter Murch 4 1,2

2.2 Focusing on 2 Dimensional Planes 3

2 1,2

1,2
2.3 Screen Direction on 3D Plane. 3

2.4 Perform Skim & Trim. 4 1,2

Inserts & Cut Aways

Usage of Cutaways - With examples from

films, How to enhance cut. Flashforward
3.1 4 1,2,3
and Flashback.

Usage of Inserts - With examples from

3 films, How to enhance cut, How to add
3.2 4 3, 4
meaning.

Temporal connection between the shots.

3.3 4 3, 4

Editing Exercise

Edit a dialogue sequence from given

4.1 footage 10 5
4
Fine Tuning the Dialogue Sequence.
4.2 6 5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching
and ● Blended Learning: Combine pre-recorded lectures with live workshops
Learning focused on demonstrations, Q&A, and practice exercises. Offer online
Approach learning modules for flexibility and review.

● Scenario-Based Challenges: Present real-world editing scenarios (e.g.,

fixing continuity errors in existing footage, editing footage with continuity
challenges) and have students develop solutions.

Page 154 of 282

 ● Interactive Timelines: Develop interactive timelines where students can
manipulate clip order and transitions to explore continuity implications.

● Annotation Tools: Utilize software tools that allow students to annotate and
discuss continuity issues directly on video clips.

● Editing workflow Demonstration: Illustrate step-by-step procedures,

software usage, and software interface setup to provide a hands-on
understanding of the editing process

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types
• Assignments, Seminars and Class works
• Mini Project Presentation
*Please refer
appendix for B. Semester End examination
more details
• Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References
1. Borden, L., & Rabin, S. (2016). Film editing: Great cuts every filmmaker should know. Michael
Wiese Productions.
2. Dancyger, K. (2011). The technique of film and video editing: History, theory, and practice. Focal
Press.
3. Katz, S. D. (1991). Film directing shot by shot: Visualizing from concept to screen. Michael Wiese
Productions.
4. Murch, W. (2001). In the blink of an eye: A perspective on film editing. Silman-James Press.
5. Reisz, K., & Millar, G. (2019). The technique of film editing. Routledge.
6. Rothbart, R. (2003). Editing for the screen. Silman-James Press.
7. Thompson, R. J., & White, B. R. (1998). The cinematographer's art. Simon and Schuster.
8. Tucker, D. (2007). Film dialogue. Columbia University Press.
9. Walter, R. E. (2010). The invisible cut: How editors make movie magic. Michael Wiese Productions.
10. Yewdall, D. L. (2007). Practical art of motion picture sound. Focal Press.

Page 155 of 282

IMAGE ENHANCEMENT AND FASHION PHOTOGRAPHY

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name IMAGE ENHANCEMENT AND FASHION PHOTOGRAPHY

Type of
DSE
Course

Course Code MG5DSEMLM303

Course Level 300-399

Discover the essence of visual storytelling in this course, delving into

photography's artistry and image editing and enhancing techniques. From
mastering composition and lighting to exploring fashion and product
advertisement photography, students navigate various genres. Proficiency
Course in image manipulation tools and colour correction empowers creative
Summary expression. Problem-solving skills are honed, fostering adaptability in
diverse visual contexts. Ultimately, students emerge with technical prowess
and a versatile skill set, primed for a dynamic career in visual storytelling
and image creation.

Semester V Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 60

Pre-requisites,
if any

Page 156 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Develop the ability to convey compelling narratives

1 through visual elements, mastering composition,
U, Ap,I 1, 2
lighting, and post-production techniques to evoke
emotions and communicate stories effectively.

Acquire technical mastery in using photography

2 equipment, lighting setups, and image editing software,
K,S 2, 3
demonstrating proficiency in capturing and refining
images for diverse purposes.

Demonstrate adaptability to various photography

3 genres, including fashion, product advertisement, and
A,, Ap 3, 4
studio/location photography, showcasing versatile
skills in different visual contexts.

Develop creative problem-solving skills in

4 photography and image editing, employing artistic
An, C, S 2, 8
expression to address challenges and innovate in visual
storytelling.

Acquire a professional skill set for successful career

5 pathways in photography, gaining insights into
E, C, S 3, 10
industry-standard practices, portfolio creation, and
effective model/product promotion strategies.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S), Interest
(I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Mastering Composition and Lighting in Photography

Engage students with theoretical discussions on

1 composition techniques, covering pose, propping,
1.1 2 1
and scene elements. Introduce various lighting
patterns and their effects on visual narratives.

Page 157 of 282

 Conduct hands-on sessions allowing students to
experiment with different composition styles,
1.2 utilizing props, and understanding how lighting 3 1
impacts the scene. Critique sessions to evaluate
and refine compositions.

Showcase case studies and visual examples

1.3 illustrating how composition and lighting 3 1
techniques enhance storytelling in photography.

Exploring Prop and Background Selection in Fashion Photography

Provide studio time for students to work with props

and experiment with diverse background materials.
2.1 10 2
Encourage them to create fashion/model headshots
and product advertisements.

2 Invite professional photographers to demonstrate

effective use of props and background materials in
2.2 3 2
fashion photography. Encourage discussion and
critique sessions.

Assign projects where students create portfolios

2.3 showcasing their mastery of propping and 3 2
background selection in fashion/model headshots.

Image Editing Mastery: Techniques and Analysis

Conduct practical sessions guiding students

through various image editing tools and
3.1 3 3
functionalities. Focus on hands-on exercises to
manipulate and enhance images.

Analyse before-and-after examples to understand

3 the impact of different editing techniques on image
3.2 3 3
enhancement. Encourage students to replicate
these techniques.

Assign creative projects where students apply

3.3 learned editing tools to achieve specific visual 6 3
outcomes, encouraging independent exploration
and application.

Page 158 of 282

 Advanced Colour Correction Techniques

Conduct specialized workshops focusing on

4.1 mastering colour correction tools like Vibrance, 10 4,5
Colour Balance, and Black & White adjustments.
Encourage experimentation and practice.

Organize review sessions where students present

4
4.2 their colour-corrected images for feedback from 4 4,5
peers and instructors. Encourage discussions on
achieving desired visual aesthetics.

Assign tasks or projects simulating real-world

4.3 scenarios where students must apply colour 10 4,5
correction techniques to achieve specific mood and
tone requirements.

5 TEACHER SPECIFIC MODULE

Page 159 of 282

 Classroom Procedure (Mode of transaction)

● Conduct engaging lectures complemented by visual demonstrations to

introduce composition techniques, lighting patterns, and image editing
tools, fostering an understanding of the fundamental concepts.
Teaching and
● Offer hands-on workshops allowing students to apply composition and
Learning lighting mastery techniques in practical scenarios. Provide studio time
Approach for experimenting with props and diverse backgrounds, enhancing their
adaptability and skill set.

● Present case studies highlighting successful applications of composition,

lighting, and image editing techniques. Engage students in critical
analysis and encourage creative problem-solving in image creation.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types • Assignments and Seminars
• Mini Project Presentation
*Please refer
B. Semester End examination
appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References
1. Barnbaum, B. (2010). The art of photography: An approach to personal expression. Rocky Nook ;
Sebastopol, CA.
2. Faulkner, A., & Chavez, C. (2017). Adobe Photoshop CC Classroom in a Book (2018 release). Adobe
Press.
3. Freeman, M. (2015). The photographer’s eye: Composition and design for better digital photos.
Routledge.
4. Hunter, F., Biver, S., & Fuqua, P. (2007). Light: Science and magic: An introduction to photographic
lighting. Focal.
5. Hurkman, A. V. (2014). Colour correction handbook: Professional techniques for video and cinema.
Peachpit Press.
6. Relia, A. (2018). The Indian Portrait. Archer Art Gallery.
7. Smith, B. (2008). Fashion photography: A complete guide to the tools and techniques of the trade.
Amphoto.
8. Smith, B. (2008). Pro digital fashion photography: A complete reference guide to the tools and
techniques of successful digital fashion photography. Ilex.
9. Strobist. (2010). Lighting 101. Publisher.
10. Stulberg, J. (2017). Unfrozen: A Father's Reflections on a Brain Tumor Journey. West Margin Press.

Page 160 of 282

CAPTURING MINIATURE

Mahatma Gandhi University

Kottayam

Programme

Course Name CAPTURING MINIATURE

Type of
SEC
Course

Course Code MG5SECMLM300

Course Level 300-399

"Capturing Miniature: Skill Enhancement Course" is a focused program

designed to refine students' miniature photography abilities. This course
delves into advanced composition techniques, lighting manipulation, and
practical shooting skills tailored for small-scale subjects. Through hands-on
Course exercises and post-processing guidance, students learn to create captivating
Summary miniature images that stand out with clarity and vibrancy. By the course's
end, participants emerge with enhanced proficiency in miniature
photography, ready to produce stunning imagery that showcases the
intricacies of their subjects.

Semester V Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 161 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Define what miniature photography is and describe its

U 1
significance in the field of photography.
2 Apply composition principles such as the rule of thirds
and framing to create aesthetically pleasing A 2
photographs.
3 Analyse miniature photographs, identifying
compositional elements, lighting choices, and An 3,4
storytelling techniques employed by photographers.
4 Design a miniature photography project with a specific
C 5,9
theme or concept.
5 An appreciation for miniature photography as a unique
art form, recognizing its ability to evoke emotions, AP 6,7,8
spark imagination, and convey meaning.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S), Interest
(I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Miniature Photography

Miniature photography: definition, purpose,

and applications-Introduction to basic
1.1 4 1, 2, 3
photography equipment: cameras, lenses,
1 lighting.

Understanding scale and perspective: how to

1.2 4 1, 2,3
portray miniatures effectively.

Page 162 of 282

 Fundamentals of Composition-Rule of thirds
and other composition techniques-Importance
1.3 of background and foreground elements. - 4 2, 3
Framing and leading lines: directing the
viewer's eye.

Lighting Techniques for Miniatures

Natural vs. artificial light: pros and cons-
2.1 3 1, 4
Understanding light direction and intensity.

Diffusing light for softness and reducing harsh

2.2 4 1,2,5
shadows
2
Depth of field and aperture settings: controlling
focus-Shutter speed and motion blur: capturing
2.3 6 1,3,4,5
dynamic scenes-White balance and colour
temperature: achieving accurate colours.

Post-Processing and Presentation

Understanding Miniature Set Construction:

3.1 Basics of building miniature sets including 6 1,4, 5
scale, materials, and construction techniques.

Camera Movement: Techniques for achieving

3 smooth and dynamic camera movements within
3.2 3 4,5
miniature sets, including dollies, sliders, and
miniaturized camera rigs.

Practice and Experimentation-miniature

3.3 3 3, 5
sceneries /building/characters.

Creating Special Effects

Creative Vision and Storytelling-Specialized

Equipment and Accessories.
4.1 4 5
Digital effects and enhancements, Color
grading, and visual polishing
4
Special Effects and Practical Tricks:
Incorporating practical effects such as smoke,
4.2 4 5
fog, and miniature explosions to enhance realism
and drama in miniature filmmaking.

Page 163 of 282

 Advancements in miniature set technology,
Virtual production and augmented reality
4.3
applications, Opportunities and challenges in
the digital era

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: Engage students with interactive lectures on
miniature photography techniques, emphasizing hands-on
demonstrations and discussions to enhance understanding and
application of capturing miniature subjects effectively.
● Interactive Discussions: Facilitate interactive discussions on miniature
photography, encouraging students to share insights, ask questions, and
Teaching and explore techniques collaboratively to enhance their skills in capturing
Learning miniature subjects effectively.
Approach ● PowerPoint presentations: Utilize PowerPoint presentations to visually
illustrate key concepts and techniques for capturing miniature subjects in
photography, enhancing student understanding through informative
slides and visual examples.
● class room assignments: Assign classroom tasks such as miniature photo
scavenger hunts, where students capture various miniature subjects using
different techniques, promoting hands-on learning and skill development
in miniature photography.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 25 marks

Assessment
Types • Assignments and Seminars
• Mini Project Presentation
*Please refer
appendix for B. Semester End examination
more details
• Project evaluation – 40 Marks
• Viva-Voce – 10 Marks

Page 164 of 282

References

1. Brown, T. (2018). The Complete Guide to Miniature Photography: Techniques, Tips, and Inspiration.
San Francisco, CA: Chronicle Books.
2. Carter, L. (2017). Capturing Tiny Wonders: The Ultimate Guide to Miniature Set Photography. New
York, NY: Penguin Books.
3. Davis, R. (2016). The Art of Miniature Photography: Tips and Techniques for Capturing Small-Scale
Scenes. Santa Barbara, CA: Rocky Nook.
4. Garcia, M. (2014). Through the Lens: Mastering Miniature Set Photography. Hoboken, NJ: Wiley.
5. Jones, A. (2018). Miniature Worlds: Photography and the Art of Capturing Tiny Realities. London,
England: Thames & Hudson.
6. Nguyen, J. (2019). The Art and Craft of Miniature Set Photography. New York, NY: Abrams.
7. Patel, K. (2015). The Miniature Photographer's Handbook. Buffalo, NY: Amherst Media.
8. Smith, E. (2019). Tiny Universes: A Guide to Miniature Set Photography. New York, NY: Focal Press.
9. Thompson, S. (2016). Tiny Worlds, Big Impact: A Photographer's Guide to Capturing Miniature Sets.
Washington, D.C.: National Geographic.
10. Wilson, D. (2017). Small Scale, Big Stories: The Photographer's Guide to Miniature Set Creation. New
York, NY: Random House.

Page 165 of 282

SEMESTER - VI

Page 166 of 282

FILM APPRECIATION

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name FILM APPRECIATION

Type of
DSC-A
Course

Course Code MG6DSCMLM300

Course Level 300-399

The "Film Appreciation" course provides a captivating journey through

cinema's multifaceted realm, fostering a deep understanding and
appreciation for filmmaking artistry. Starting with cinema's history, students
explore its evolution, techniques, and influential movements. They analyse
Course
films across genres, cultures, and eras, honing their critical eye and
Summary
understanding of filmmaking aesthetics. Through curated screenings,
participants delve into cinematography, editing, sound design, and
storytelling, enriching their appreciation of cinematic masterpieces.

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 167 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Define film as an art form, identifying its unique elements,

and analyse iconic cinematographic techniques, K 1, 2
demonstrating comprehension and analysis skills.

2 Understand visual and technical aspects of filmmaking,

including editing's narrative role, analysing editing styles and K, U 2, 3
techniques.

3 Explore theoretical perspectives, studying influential film

theorists and semiotics in film, applying theoretical concepts A 3, 4
in analysis.

4 Examine cinema from diverse cultures, analysing cultural

contexts, and conducting group analysis, fostering cross- An 3, 8
cultural appreciation and analysis skills.

5 Synthesize knowledge of film history, language, and theory,

applying it to analyse films across genres and cultures, E, C 3, 8
demonstrating synthesis and evaluation skills.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Film as an Art Form

Defining Film as an Art Form- Introduction to

1.1 the course, syllabus overview, Understanding 5 1
the elements that make film a distinct art form
1
Language of Cinema- Basics of camera work,
1.2 framing, and composition, Analysis of iconic 5 1
cinematographic techniques

Page 168 of 282

 History of Cinema- Evolution of cinema over
1.3 time, Impact of key historical events on 5 1
filmmaking

Editing Techniques and Genre Analysis

2.1 Visual and Technical Aspects of Filmmaking, 6 2

Importance of Editing in Storytelling- The role

2.2 of editing in shaping narrative, Analysing editing 6 2
2 styles and techniques

Exploring Film Genres- Understanding various

2.3 film genres, Case studies on the characteristics 6 2
of specific genres

Influential Theories and Symbolism in Cinema

3.1 Theoretical Perspectives and Semiotics in Film 6 3

Key Film Theorists and Contributions-

3.2 Introduction to influential film theorists, 6 3
3
Exploring formalism, realism, and auteur theory

Semiotics in Film- Understanding signs and

3.3 symbols in film, Analysing the use of semiotics 6 3
in specific films

Analysing Films Across Cultures

4.1 Cross-Cultural Exploration of Cinema 8 4

Cinema from Different Cultures- Exploring

4 4.2 8 5
films from various cultures and regions

4.3 Group analysis of selected films 8 5

5 TEACHER SPECIFIC MODULE

Page 169 of 282

 Classroom Procedure (Mode of transaction)

● Introduction to Film Appreciation: In the first session, students explore

film fundamentals, including language and history. Discussion emphasizes
film's nuanced definition and cultural importance. A classic film screening
allows interactive analysis.

● Visual Elements and Cinematography: Focuses on the visual aesthetics of

filmmaking, offering a hands-on workshop to explore the basics of camera
work. Students will gain practical insights into framing, composition, and
visual storytelling, laying the foundation for a deeper understanding of
cinematography.

Teaching and ● Theoretical Perspectives and Semiotics: Theoretical perspectives play a

crucial role in film appreciation. Introduces students to key film theorists
Learning
and their contributions, fostering discussions on formalism, realism, and
Approach auteur theory. Through the analysis of selected film scenes, students will
gain insight into the layered language of cinema.

● Genre Exploration and Cultural Perspectives: This session begins with an

overview of film genres, defining their characteristics and exploring
specific conventions through case studies. Students then explore films
from diverse cultures, analysing narratives in groups to understand cultural
nuances and promote appreciation for varied storytelling traditions.

● Final Project and Reflection: As the course approaches its culmination,

students will engage in a group project, analysing a chosen film. This final
session encourages collaborative exploration and presentation of insights
gained throughout the course.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments and Classroom works

Assessment
• Seminars
Types

B. Semester End examination

Theory Exam for 70 marks
*Please refer
• Part A
appendix for
Short Answer (5 out of 7) 2 x 5 = 10 Marks
more details
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
Essay (2 out of 4) 15 x 2 = 30 Marks

Page 170 of 282

References
1. Block, B. (2007). The visual story: Creating the visual structure of film, TV, and digital media.
Focal Press.
2. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th
ed.). McGraw-Hill Companies.
3. Corrigan, T., & White, P. (2018). The film experience: An introduction. Bedford/St. Martin’s.
4. Grant, B. (2007). Film genre: From iconography to ideology. Wallflower Press.
5. Kenworthy, C. (2011). Master shots: 100 advanced camera techniques to get an expensive look
on your low-budget movie. Michael Wiese Productions.
6. Malkiewicz, K., & Mullen, M. D. (2012). Film lighting: Talks with Hollywood’s
cinematographers and gaffers. Touchstone.
7. Mascelli, J. V. (1998). The five C’s of cinematography: Motion picture filming techniques.
Cine/Grafic Publications.
8. Monaco, J. (2000). How to read a film: The world of movies, media, multimedia. Oxford
University Press.
9. Pramaggiore, M. (2007). Film: A critical introduction (2nd ed.). Laurence King Publishing.
10. Thompson, K., Bordwell, D., & Smith, J. (2021). Film history: An introduction (5th ed.).
McGraw-Hill Education.

Page 171 of 282

VISUAL AESTHETICS OF FILM MAKING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name VISUAL AESTHETICS OF FILM MAKING

Type of
DSC-A
Course

Course Code MG6DSCMLM301

Course Level 300-399

" Visual Aesthetics of Film Making " offers an immersive study of cinematic
visual language. Students navigate visual storytelling, cinematography, and
imagery creation intricacies. They grasp the significance of visual aesthetics
in mood, tone, and narrative depth, exploring composition, lighting, and
colour theory. The curriculum fosters the integration of visual aesthetics
Course
with storytelling, encouraging intentional choices aligned with narrative
Summary
themes. Practical exercises and case studies offer hands-on experience,
applying theoretical concepts to real-world filmmaking. By course end,
students develop a comprehensive understanding of cinematic visuals,
equipping them for impactful storytelling in filmmaking process.

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 172 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Analyse script elements for structure, character, and

dialogue, applying critical evaluation and deconstruction K 1, 2
techniques.

2 Plan and manage film shoots, coordinating set activities,

scheduling, and problem-solving, ensuring efficient K, U 1, 2
production execution.

3 Evaluate feature film storytelling challenges, exploring

pacing, character arcs, and thematic development for A 2, 3
compelling narratives.

4 Develop marketing and distribution strategies for scripts and

films, utilizing industry knowledge to effectively pitch, An 3, 4
market, and distribute projects.

5 Apply advanced script writing techniques, polishing scripts

to achieve clarity, emotional impact, and engaging openings E, C 3, 8
and endings for impactful storytelling.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Scriptwriting Mastery: From Script Selection to Final Draft

Choosing a Script- Introduction to the

criteria for selecting scripts, Analysis of
1 1.1 4 1
various genres and themes.

Page 173 of 282

 Script Analysis- In-depth exploration of
script elements, including structure,
character development, and dialogue
functions, Practical exercises in critically
evaluating and deconstructing scripts.
1.2 4 1
Film Review -Understanding the
importance of film reviews in the context
of scriptwriting, Analysing and reviewing
films to identify successful visual
storytelling techniques.

Dialogue Functions- Examination of the

role of dialogue in visual storytelling,
Practical exercises in crafting impactful
dialogue for different scenarios.
1.3 4 1
First and Second Draft of a Script- Hands-
on workshop for developing initial drafts
of a script, Peer review and feedback
sessions to refine scripts.

Final Drafting- Techniques for polishing

and finalizing a script, Guidelines for
achieving clarity, conciseness, and
emotional impact.
1.4 4 1
Opening and Ending-Importance of
impactful openings and satisfying
conclusions, Analysis of memorable film
openings and endings.

Directing and Production Management

Coordinating Film Set- Role and

responsibilities of a director on a film set,
2.1 Effective communication and 5 2
collaboration with the film crew.

2
Shoot Planning- Detailed planning for
film shoots, including location scouting,
2.2 casting, and technical considerations, 4 2
Scene breakdown exercises for practical
application.

Page 174 of 282

 Film Schedule Breakdown and
Production Management- Understanding
2.3 the film schedule breakdown process, 4 2
Techniques for efficient production
management and problem-solving.

Final Print- Overview of the finalization

process leading to the production of the
2.4 5 2
final print, Quality control measures and
collaboration with post-production teams.

Crafting Feature Films

3.1 Writing for Feature Film 5 3

Understanding the unique challenges and

3.2 opportunities in feature-length 6 3
3
storytelling.

Exploration of pacing, character arcs, and

3.3 thematic development in feature films. 6 4

Script Marketing and Film Distribution

Script Marketing and Film Distribution

4.1 6 4

How to Market a Script and Film-

Strategies for marketing scripts to
4.2 potential producers and collaborators, 6 5
Creating effective pitch materials and
4
presentations.

Distribution- Overview of film

distribution models and platforms,
4.3 Understanding the role of film festivals 6 5
and distributors in the industry.

Page 175 of 282

 Marketing Strategies- Developing
marketing strategies for films, utilizing
4.4 social media, promotional materials, and 6 5
press to enhance visibility.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Foundations of Script Analysis and Development: Lecture introduces

script analysis significance and criteria for script selection. Workshop
delves into script elements, fostering critical analysis skills. Dialogue
session explores dialogue's role, followed by a hands-on exercise crafting
a first draft focusing on dialogue functions.
● Film Set Coordination and Production Planning: In the coordination
session, students learn the director's leadership role and effective crew
communication. Shoot planning covers detailed preparation, emphasizing
schedule breakdown. Final session explores print finalization and
production management techniques for efficient problem-solving.
● Writing for Feature Film: In this session, students delve into the
Teaching and complexities of feature-length storytelling, exploring pacing, character
Learning arcs, and thematic development. They analyse the unique challenges and
Approach
opportunities presented by longer narrative formats.
● Script Marketing and Film Distribution: Students explore marketing
strategies for scripts and films, learning to pitch effectively to producers
and collaborators. They also gain insights into film distribution models,
platforms, and the significance of film festivals and distributors in the
industry.
● Visual Aesthetics of Filmmaking - Capstone Session: Visual Aesthetics
Lecture (60 min): Explore cinematography, lighting, and set design in
filmmaking. Analyse visually impactful films. Hands-on Exercises and
Insights (120 min): Practical exercises integrating visual aesthetics. Guest
speaker session offers industry insights. Q&A session for student
engagement.

Page 176 of 282

 MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types
• Assignments, Seminars
• Mini Project Presentation

*Please refer
appendix for B. Semester End Examination
more details
• Project evaluation– 50 Marks
• Viva-Voce – 20 Marks

References
1. Ascher, S., & Pincus, E. (2012). The filmmaker’s handbook: A comprehensive guide for the
digital age.
2. Block, B. (2007). The visual story: Creating the visual structure of film, TV and digital media.
Focal Press.
3. Draven, D. (2015). Genre filmmaking: A visual guide to shots and style for genre films. Taylor
and Francis.
4. Glebas, F. (2009). Directing the story: Professional storytelling and storyboarding techniques for
live action and animation. Focal Press.
5. Katz, S. D. (1991). Film directing shot by shot: Visualizing from concept to screen. Michael
Wiese Productions.
6. Mackendrick, A. (2004). On film-making: An introduction to the craft of the director. Faber &
Faber.
7. Proferes, N. T. (2004). Film directing fundamentals: See your film before shooting. Focal Press.
8. Rabiger, M. (2014). Directing: Film techniques and aesthetics. Focal Press.
9. Silver, A., & Ursini, J. (2005). Horror film director’s handbook. Limelight Editions.
10. Weston, J. (1996). Directing actors: Creating memorable performances for film & television.
Michael Wiese Productions.

Page 177 of 282

SHAPING THE FORM AND CONTENT FOR FILM

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name SHAPING THE FORM AND CONTENT FOR FILM

Type of
DSE
Course

Course Code MG6DSEMLM300

Course Level 300-399

"Shaping the Form and Content for Film" immerses students in the intricate
relationship between a film's visual structure and thematic substance. This
course guides crafting films with intentional form and content, emphasizing
Course how manipulating form enriches narrative content. Through practical
Summary exercises and case studies, students hone their abilities to shape both visual
and narrative aspects of projects, gaining expertise in creating compelling
films resonating with audiences.

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 178 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Understand world and Indian cinema, analyse

1 cultural influences, and grasp film theories and the K 1, 2
art of revision.

Comprehend film naming, poster concepts, script

2 K, U 1, 2
selection, and the principles of semiotics.

Apply various forms of filmmaking, employ film

3 grammar effectively, and collaborate creatively in A 2, 3
project planning.

Analyse script presentation techniques, coordinate

4 shooting sets, and improvise scripts and production An 3, 7
processes.

Synthesize knowledge to create compelling film

5 concepts, design effective posters, select scripts, plan E, C 3, 10
projects, and coordinate production efficiently.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Exploring Cinema: Global Perspectives

1.1 World Cinema and Indian Cinema 5 1

1.2 Cinema and Culture 5 1

1

1.3 Film Theories, Art of Revision 5 1

Page 179 of 282

 Crafting Cinematic Identity

2.1 Naming of a Film 6 2

2.2 Film Poster Concepts 6 2

2

2.3 Selection of a Script, Semiotics 6 3

Mastering Filmmaking Essentials

3.1 Forms of Filmmaking 6 3

3 3.2 Working Knowledge of Film Grammar 6 4

3.3 Project planning and creative Teaming 6 4

Essential Skills for Filmmakers

4.1 How to Present a Script 8 5

4 4.2 Coordinating Shooting Set 8 5

4.3 Improvisation of Script/ Production Process 8 5

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Introduction to Film Context: Objective: Establish a foundational

understanding of global and Indian cinema in historical, cultural, and
artistic contexts. Implementation: Conduct lectures, screenings of diverse
Teaching
films, and discussions. Encourage students to research and present
and findings on significant cultural influences in film.
Learning
● Theoretical Exploration and Semiotics: Objective: Introduce students to
Approach film theories and semiotics for critical analysis. Implementation: Blend
theoretical discussions with practical examples. Assign film analysis
projects where students apply theories and semiotic concepts to interpret
cinematic elements.

Page 180 of 282

 ● Creative Expression - Film Poster and Title Design: Objective: Cultivate
creative skills in crafting visually appealing film posters and compelling
titles. Implementation: Organize workshops where students create film
posters and titles based on a given script or concept. Foster peer critique
sessions to refine their design choices.

● Practical Application of Film Grammar and Project Planning: Objective:

Develop proficiency in film grammar and project planning skills for
effective filmmaking. Implementation: Combine theoretical teachings on
film grammar with practical exercises. Assign group projects where
students plan and execute short films, emphasizing the importance of
project planning.

● Script Presentation and Set Coordination: Enhance students' ability to

present scripts effectively and coordinate activities on a film set.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments, Seminars
• Model Project Presentation

*Please refer B. Semester End Examination

appendix for
• Project evaluation – 20 Marks
more details
• Viva-Voce – 50 Marks.

References

1. Ascher, S., & Pincus, E. (2019). The filmmaker’s handbook: A comprehensive guide for the
digital age. Penguin.
2. Bordwell, D., Thompson, K., & Smith, J. (2021). Film history: An introduction (5th ed.).
McGraw-Hill Education.
3. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th
ed.). McGraw-Hill Companies.
4. Braudy, L., & Cohen, M. (2016). Film theory and criticism: Introductory readings. Oxford
University Press.
5. Field, S. (2006). The screenwriter’s workbook: Exercises and step-by-step instruction for
creating a successful screenplay. Delta.
6. Marsh, G., & Nourmand, T. (2005). Film posters of the 80s: The essential movies of the decade.
Overlook Press.
7. Meyer, C., & Meyer, T. (2019). Creating motion graphics with After Effects: Essential and
advanced techniques. Routledge.
8. Mitry, D. J. (2000). Semiotics and the analysis of film (C. King, Trans.). Indiana University Press.
9. Oberman, E. (2016). Title: A simple guide to film title design. Phaidon Press.
10. Rajadhyaksha, A. (2016). Indian cinema: A very short introduction. Oxford University Press.

Page 181 of 282

THE ART OF GRAY SCALE: EXPLORING MONOCHROME PHOTO

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

THE ART OF GRAY SCALE: EXPLORING MONOCHROME

Course Name PHOTO

Type of
DSE
Course

Course Code MG6DSEMLM302

Course Level 300-399

Explore the timeless art of monochrome photography through a

comprehensive four-module course covering foundational techniques,
iconic masters' works, emotional impact, and practical applications. Delve
into foundational techniques, iconic masters' works, and the emotional
impact of black and white imagery. Explore technical nuances, artistic
Course
compositions, and the narratives crafted through tonal contrasts. Learn from
Summary
legendary photographers like Ansel Adams and Henri Cartier-Bresson.
Apply newfound knowledge to crafting compelling monochrome motion
photography projects. Unveil the historical significance and creative
potential of monochrome photography in this immersive experience.

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

COURSE OUTCOMES (CO)

Page 182 of 282
 CO No. Expected Course Outcome Learning PO No
Domains *

Students master monochrome photography, adept in

1 K, A
grayscale manipulation, tonal contrasts, and effective
1, 2
lighting usage.

Analyse iconic photographers, enabling students to

2 U, C
employ compositional techniques and evoke emotions
2, 3
in monochrome photography.

Execute monochrome motion projects, integrating

3 A, C
technical expertise, visual language, and emotional
3, 4
depth practically.

Critically analyse historical and contemporary

4 An, E
monochrome photos, informing own artistic decisions
3, 8
and strategies.

Develop skills to present monochrome projects

5 A, C
effectively, articulating technical and artistic choices. 3, 10

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Unit Course description Hrs CO No.

s

Mastering Monochrome

Introduction to Monochrome Photography -

1 1.1 Explore the history and significance of 6 1
monochrome photography.

Page 183 of 282

 Technical Aspects of Grayscale and
Composition- A hands-on session on
manipulating grayscale, contrast, and exposure.
1.2 8 1
Discussion on analysing compositional
techniques specific to black and white
photography.

Artistic Elements in Monochrome: Discuss

1.3 artistic elements like texture, patterns, and 8 1

contrast in monochrome. Assign students to
capture their own monochrome images,
focusing on artistic elements.

Iconic Photographers and Their Influence

Study of Iconic Photographers: Introduce

Ansel Adams, Henri Cartier-Bresson, Raghu
Rai, Fan Ho, and Daido Moriyama, examining
2.1 their techniques. 8 2

Break down their famous works, highlighting

compositional and thematic elements.
2

Discussion & Critique: Group Activity: Divide

students into groups to analyse specific
photographs by these photographers.
2.2 8 2

Debate: Encourage a debate on the influence of

these masters on contemporary photography.

Monochrome Narrative Mastery

Narrative Impact & Visual Language- Practical

exercises on creating narrative impact using
3 3.1 6 4
tonal contrast and light. Analyse photographs
for emotional impact and visual storytelling.

Page 184 of 282

 Show post-processing techniques for
enhancing black and white images. Allow
3.2 students to experiment with post-processing 8 4
tools for monochrome images.

Presenting Monochrome Motion

Guide students on structuring presentations for

their motion photography projects. Provide
4.1 8 5
time for students to rehearse and refine their
project presentations.
4

Each student presents their motion

4.2
photography project to the class. Conduct peer
15 5
feedback and instructor critique for each
project

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching
● Begin with a brief historical overview of monochrome photography,
and
highlighting its evolution and significance in the art world. Engage students
Learning with visual examples of iconic monochrome photographs. Discuss the
Approach emotional and aesthetic impact of working in black and white. Introduce the
technical aspects of grayscale, contrast, and exposure.

● Conduct a hands-on session using cameras or editing software to manipulate

grayscale, contrast, and exposure. Discuss compositional techniques specific
to black and white photography, such as leading lines, symmetry, and
framing. Assign practical exercises for students to apply the discussed
techniques and principles.

● Introduce iconic photographers Ansel Adams, Henri Cartier-Bresson, Raghu

Rai, Fan Ho, and Daido Moriyama. Break down their famous works,
highlighting compositional and thematic elements. Divide students into
groups for a detailed analysis of specific photographs by these photographers.

Page 185 of 282

 ● Conduct practical exercises on creating narrative impact using tonal contrast
and light. Analyse photographs for emotional impact and visual storytelling.
Discuss the importance of visual language in conveying a narrative.

● Show post-processing techniques for enhancing black and white images. Allow
students to experiment with post-processing tools for their monochrome
images. Provide guidance and feedback during the practical session.

MODE OF ASSESSMENT
Assessme
nt Types A. Continuous Comprehensive Assessment (CCA)

• Assignment and Seminar

*Please
• Mini Project Presentation
refer
B. Semester End Examination
appendix
for more • Project evaluation - 50 Marks
details • Viva-Voce - 20 Marks

References

1. Davis, R. (2015). The Grayscale Photographer's Handbook: A Comprehensive Guide to Shooting

Black & White. San Francisco, CA: Peachpit Press.
2. Freeman, M. (2013). The Complete Guide to Black & White Digital Photography & Photo
Processing. Lewes, England: Ilex Press.
3. Freeman, M. (2017). Black and White Photography: The Timeless Art of Monochrome in the Post-
Digital Age. London, England: Ilex Press.
4. Johnson, B. (2016). Digital Black & White Landscape Photography: Fine Art Techniques from
Camera to Print. New York, NY: Routledge.
5. Schenk, P. (2013). Black & White Photography: A Complete Guide for Nature Photographers.
Buffalo, NY: Amherst Media.
6. Smith, E. (2019). Black & White: A Guide to Classic Techniques. New York, NY: Focal Press.
7. Thomas, D. (2017). Mastering Black & White Photography. New York, NY: Amherst Media.
8. Thompson, S. (2016). Grayscale Photography: An Artistic Approach. Washington, D.C.: National
Geographic.
9. Walker, J. (2011). Digital Black & White Photography. New York, NY: Harper Design.
10. Wilson, D. (2018). The Art of Grayscale Photography. New York, NY: Random House.

Page 186 of 282

MASTERING DIRECTORIAL CRAFT

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MASTERING DIRECTORIAL CRAFT

Type of
DSE
Course

Course Code MG6DSEMLM302

Course Level 300-399

“Mastering Directorial Craft" course offers a comprehensive exploration of

the director's role in filmmaking. Students learn visual storytelling, effective
communication with actors, and overall creative orchestration. Beginning
with script interpretation, they delve into shot composition, framing, and
Course using visual elements for emotional impact. Emphasis is placed on
Summary collaboration and communication on set to elicit authentic performances
while maintaining an inspired atmosphere. Practical exercises and case
studies provide hands-on experience, enabling students to apply theoretical
concepts to real-world filmmaking.

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 187 of 282

COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Understand the role of a film director as a team

leader, grasp team dynamics, effective
1 communication, motivation, project planning, and K 1, 2

creative teaming.

Comprehend post-production processes, editing

techniques, sound design, visual effects, and their
2 K, U 2, 3
importance in filmmaking.

Apply knowledge to documentary filmmaking,

television production, OTT, and new media
3 production, including research, pre-production, A 3, 4

and multi-camera setups.

Analyse production design essentials, costume

design's role in character development, and
4 An 3, 7
makeup techniques for visual storytelling.

Synthesize concepts to effectively lead teams,

manage projects, integrate post-production
5 elements, and collaborate with production E, C 4, 10

designers and makeup artists.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Leadership in Filmmaking

1 1.1 Film Director as Team Leader 5 1

Page 188 of 282

 Understanding team dynamics, Effective
1.2 5 1
communication, and motivation

Project Planning and Creative Teaming,

1.3 Pre-production processes, 5 1

Team collaboration and project management

Mastering post-production

Understanding Post-Production, Role and

2.1 5 2
importance of post-production in filmmaking

Introduction to editing techniques, Non-linear

2 2.2 editing systems, Specialized editing software 5 2
and tools

Sound Design and Visual Effects, Integration

2.3 of sound in post-production, Understanding 5 2
visual effects and CGI

Exploring Diverse Filmmaking

Introduction to Documentary Filmmaking,

Characteristics and styles of documentary
3.1 5 3
filmmaking, Research and pre-production for
documentaries

Television Production, Differences between

3 3.2 film and television directing, Multi-camera 5 3

setups and live production

OTT and New Media Production, Content

3.3 creation for online platforms, Interactive 5 4
storytelling and transmedia experiences

Crafting Cinematic Worlds

Page 189 of 282

 Production Design Essentials, Importance of
production design in filmmaking,
4.1 5 4
Collaboration with production designers and
art directors

4
Costume and Makeup in Film, Role of
4.2 5 5
costume design in character development

Makeup techniques for film and visual

4.3 5 5
storytelling

5 TEACHER SPECIFIC MODULE

Page 190 of 282

 Classroom Procedure (Mode of transaction)

● Introduction to the Art of Direction: Introduce film direction fundamentals,

emphasizing directors' creative leadership. Analyse renowned directors'
styles and their impact on storytelling and aesthetics. Host a seasoned
director for insights into directing challenges and rewards. Engage students
in a Q&A.

● Understanding Narrative and Visual Storytelling: Hands-on narrative

development emphasizing the director's role. Peer review and discussion of
storytelling strategies. Scene Development Exercise: Practical scene
creation showcasing directorial influence. Critique for effective visual
communication.

Teaching and ● Directing Actors and Enhancing Performance: Interactive Lecture on

Learning
Directing Actors: Delve into directing nuances, communication, and
Approach character development. Students direct actors in scenes, focusing on
communication and performance enhancement. Group discussion analyses
challenges and successful approaches in directing.

● Technical Aspects of Film Direction: Overview of key cinematography

concepts for directors, emphasizing framing and shot composition.
Discussion on director-cinematographer collaboration. Workshop on scene
visualization and shot planning, focusing on director's role in translating
vision to screen. Collaborative exercises included.

● Directing in Different Genres and Industry Realities: Genre Exploration and

Adaptability: Delve into directing challenges across genres, emphasizing
adaptive directing styles.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA)
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
• Project evaluation – 50 Marks
more details
• Viva-Voce – 20 Marks

Page 191 of 282

References

1. Bancroft, T. (2013). Directing for animation: Everything you didn’t learn in art school. Focal Press.
2. Block, B. (2007). The visual story: Creating the visual structure of film, TV and digital media. Focal
Press.
3. Draven, D. (2015). Genre filmmaking: A visual guide to shots and style for genre films. Taylor and
Francis.
4. Glebas, F. (2009). Directing the story: Professional storytelling and storyboarding techniques for live
action and animation. Focal Press.
5. Katz, S. D. (1991). Film directing shot by shot: Visualizing from concept to screen. Michael Wiese
Productions.
6. Mackendrick, A. (2004). On film-making: An introduction to the craft of the director. Faber & Faber.
7. Proferes, N. T. (2004). Film directing fundamentals: See your film before shooting. Focal Press.
8. Rabiger, M. (2014). Directing: Film techniques and aesthetics. Focal Press.
9. Silver, A., & Ursini, J. (2005). Horror film director’s handbook. Limelight Editions.
10. Weston, J. (1996). Directing actors: Creating memorable performances for film & television. Michael
Wiese Productions.

Page 192 of 282

VISUAL STORY CREATION

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name VISUAL STORY CREATION

Type of
DSE
Course

Course Code MG6DSEMLM303

Course Level 300-399

The " Visual Story Creation " course challenges students to ideate, script,
and produce a concise narrative within a prescribed time frame. It begins
with idea generation and screenplay development, where students refine
their concepts into a detailed script approved by faculty. Subsequently, a
five-week schedule ensues, dividing the process into pre-production,
Course
production, and post-production stages, demanding meticulous planning,
Summary
execution, and editing within this prescribed timeframe. The course
emphasizes hands-on learning, pushing students to navigate challenges,
exercise time management, and refine their creative visions while crafting a
compelling five-minute film

Semester VI Credits 4
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 193 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Students exhibit mastery of filmmaking from

1 concept to post-production, creating a five- U 1, 2
minute fiction film.
Students showcase creativity through visually
2 compelling narratives, innovative storytelling, C 2, 3
and creative choices in films.
Students will master project management,
3 planning, and execution during a 5-week A 3, 4
filmmaking timeline.
Students navigate filmmaking challenges,
4 showcasing adaptability, creative problem- An 3, 9
solving, and delivering completed projects.
Students will discuss creative choices,
5 challenges, and filmmaking process, showcasing E 3, 10
communication skills.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Foundations of Filmmaking

Defining pre-production and its significance

in filmmaking. Exploring the different
1.1 stages: idea conception, development, and 3 1
scriptwriting. Discussing the importance of a
strong foundation in pre-production for a
successful film.
1
Techniques for brainstorming and
developing creative concepts. Encouraging
1.2 students to explore various themes, genres, 3 1
and narrative structures. Exercises to
stimulate creativity and ideation among
students.

Page 194 of 282

 Understanding the structure of a screenplay.
Exploring character development, plot arcs,
1.3 and dialogue. Practical exercises in 3 1
scriptwriting and refining ideas into a
cohesive script.

Discussing the importance of faculty

approval and feedback in script development.
1.4 Emphasizing the collaborative nature of 3 2
script approval and refinement. Workshop-
style sessions for script improvement based
on feedback.

Practical Filmmaking: Location Scouting to Pre-Production Planning

Field trips or virtual tours to understand

location scouting. Role-playing exercises for
2.1 students to scout and evaluate potential 4 2
filming locations. Discussions on the impact
of location on storytelling.

Guest lectures or workshops with casting

directors or actors for insights. Practical
2.2 sessions for auditioning and selecting actors 4 2
for roles. Case studies on successful casting
choices in films.

Hands-on activities for students to create

storyboards based on a scene or script
2.3 excerpt. Analysing professional storyboards 4 2
2 and their impact on filmmaking.
Collaborative exercises involving directors,
cinematographers, and artists.

Group exercises in breaking down a script

into scenes and shots. Creating shooting
2.4 schedules and plans based on script 4 3,4
breakdowns. Role-playing scenarios for
effective communication and coordination
among crew members.

Role-play exercises in creating and

distributing call sheets. Understanding the
2.5 importance of clear communication and 4 3,4
accuracy in call sheets. Reviewing and
analysing call sheets from professional
productions.

Page 195 of 282

 Essential Skills for Filmmaking

Practical exercises in budgeting for a short

3.1 film project. Guest lectures or case studies on 5 4
managing budgets in filmmaking.

Group discussions on strategies for

3.2 optimizing resources while maintaining 5 4
quality.

Practical sessions on maintaining continuity

during filming. Role-play exercises for
3 3.3 creating and managing a continuity log sheet. 5 4,5
Analysing the impact of continuity on the
final film through examples.

Practical exercises in creating shot lists

based on script analysis. Role-playing
scenarios to understand the collaboration
3.4 between director and cinematographer. 4 4,5

Analysing the importance of shot

composition in storytelling.

Bringing Films to Life

Hands-on sessions using editing software

for basic editing techniques. Understanding
4.1 the role of sound in enhancing storytelling 4 5
through practical exercises. Guest lectures
or demonstrations by professional editors
and sound designers.
4
Understanding different distribution
channels for short films. Case studies on
4.2 successful short film releases and their 5 5
marketing strategies. Group projects on
creating marketing plans for releasing a
short film.

5 TEACHER SPECIFIC MODULE

Page 196 of 282

 Classroom Procedure (Mode of transaction)

● Employ an interactive teaching style through engaging lectures, hands-on

workshops, and guest speakers to blend theory with practical application.
Encourage collaborative learning with group projects and continuous
feedback loops to foster improvement.
● Introduce pre-production stages from idea conception to script
development through brainstorming sessions and scriptwriting workshop,
culminating in script proposals refined through feedback
● Explore location scouting, casting, and storyboarding importance via
Teaching and practical sessions, including scouting exercises, casting simulations, and
Learning storyboard creation, culminating in shooting plans and call sheets.
Approach ● Cover budgeting essentials and production scheduling through hands-on
activities in budget planning and scheduling scenarios, resulting in
proposed budgets and production schedules for hypothetical films.
● Highlight continuity and shot lists' significance with practical exercises in
log creation, shot list development, and scene analysis, leading to
assignments creating these elements based on provided scripts.
● Examine post-production, including editing, sound design, and film
release strategies through workshops and discussions, with assignments
focusing on editing practice, sound design exercises, and film release
plans.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA)

Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer B. Semester End Examination

appendix for
• Project evaluation – 50 Marks
more details
• Viva-Voce – 20 Marks

Page 197 of 282

References

1. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th ed.).
McGraw-Hill Companies.
2. Brown, B. (2013). Cinematography: Theory and Practice. Taylor & Francis.
3. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael Wiese
Productions.
4. Oxenhandler, N., & Sobchack, V. (1993). The address of the eye: A phenomenology of film experience.
SubStance, 22(1), 132. doi:10.2307/3684747
5. Rabiger, M. (2014). Directing: Film Techniques and Aesthetics. Focal Press.
6. Sonnenschein, D. (2001). Sound design: The expressive power of music, voice, and sound effects in
cinema. Studio City, Calif. Michael Wiese Productions [Ca.
7. Thompson, K., Bordwell, D., & Smith, J. (2021). Film History: An Introduction (5th ed.). Columbus,
OH: McGraw-Hill Education.
8. Weston, J. (1996). Directing Actors: Creating Memorable Performances for Film & Television.
Michael Wiese Productions.
9. Wollen, P. (2019). Signs and meaning in the cinema. London, England: BFI Publishing.
10. Yash Singhania, & Vyas, I. (2020). Writing Documentary and Film Script. Prakhar Goonj.

Page 198 of 282

PHOTO DOCUMENTARY

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name PHOTO DOCUMENTARY

Type of
SEC
Course

Course Code MG6SECMLM300

Course Level 300-399

This comprehensive course on documentary photography covers the

historical evolution of the art form and its ethical considerations. It delves
into the nuances of visual storytelling, emphasizing composition, design
elements, and colour theory. Through exploring the works of iconic
Course photographers and contemporary artists, participants gain insights into
Summary diverse styles and approaches. Further modules focus on modern
storytelling methods, both linear and non-linear, emphasizing conceptual
approaches and the importance of editing for various platforms such as
zines, exhibitions, and photo books.

Semester VI Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 199 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Explore historical evolution, features, and ethics in

1 documentary photography for comprehensive K, U, A 1, 2
understanding.
Master visual storytelling: composition, design,
2 and colour for effective narrative conveyance K, U, A 2, 3
through images.
Gain diverse photographic insights by studying
3 iconic works, fostering appreciation for varied U, An, E 3, 4
styles.
Discover modern storytelling, linear and non-
4 linear methods, fostering adaptability and A, An, C 3, 4
innovation in narratives.
Master practical aspects: documentary project
5 creation, presentation, zines, exhibitions, and A, C, E 3, 9
valuable feedback.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Foundations of Documentary Photography

Explore the origins and evolution of

1.1 documentary photography, defining its key 4 1
characteristics and historical significance.

1
Delve into the ethical considerations essential
for documentary photographers, addressing
1.2 issues such as consent, truthfulness, and the 4 1
photographer-subject relationship.

Page 200 of 282

 Understand the basics of visual storytelling,
emphasizing narrative techniques, sequencing,
1.3 4 1
and the power of compelling imagery to convey
stories.

Artistic Techniques in Documentary Photography

Learn the principles of composition and design,

2.1 studying how elements like framing, 4 2
perspective, and balance contribute to the
effectiveness of a documentary photograph.

Explore the role of colour in storytelling,

understanding how colour choices impact the
2 2.2 emotional and narrative aspects of a 4 2
photograph.

Analyse and discuss exemplary works from

2.3 renowned documentary photographers, 4 2
applying theoretical concepts to real-world
examples.

Storytelling in Documentary Photography

Focus on the works of Dorthea Lange, Lewis

Hine, Kitra Cahana, Raghu Rai, Dayanita
3.1 Singh, Steve McCurry, and Sebastião Salgado, 4 3
understanding their unique contributions to the
field.

Explore modern methods of storytelling,

3
3.2 including both linear and non-linear approaches, 3 3
and delve into conceptual storytelling strategies.

Understand the importance of consistency and

cohesion in storytelling by examining the
3.3 process of developing a body of work within 3 3
the documentary genre.

Post-Production and Project Execution

Recognize the significance of post-production

in the documentary process, focusing on
4 4.1 editing techniques tailored for various 3 4,5
mediums like Zines, Photo Exhibitions, and
Photo books.

Page 201 of 282

 Learn strategies for selecting compelling
topics for documentary projects, considering
4.2 3 4,5
social relevance, personal interest, and the
potential for impactful storytelling.

Receive essential guidance, monitoring, and

suggestions for practically implementing
4.3 documentary projects, including creating and 5 4,5
submitting Zines, organizing Photo
Exhibitions, and producing Photo books.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Utilize interactive lectures and multimedia presentations to provide a

comprehensive overview of the history of documentary photography,
defining its core principles and ethical considerations. Engage students
through discussions, readings, and visual analysis, fostering a solid
foundation in the historical and ethical dimensions of documentary
photography.

● Conduct in-depth analyses of works by key photographers, including

documentary luminaries like Dorthea Lange and Sebastião Salgado, offering
insights into their contributions. Assign research projects and group
presentations, encouraging students to critically examine and articulate the
impact of influential photographers on the genre.

● Organize hands-on workshops to teach visual storytelling, composition,

Teaching and
design elements, and colour theory, allowing students to apply theoretical
Learning concepts in practical exercises. Facilitate group projects and individual
Approach assignments, providing opportunities for students to actively experiment
with and internalize the principles of visual composition.

● Adopt an interactive teaching method, combining lectures and discussions to

explore contemporary storytelling methods, both linear and non-linear, and
delve into conceptual storytelling. Encourage group projects, reflective
discussions, and presentations, fostering an understanding of diverse
storytelling techniques within a modern context.

● Conduct practical editing workshops and software tutorials, demonstrating

the importance of editing for various mediums such as Zines, Photo
Exhibitions, and Photo books. Assign hands-on editing exercises, allowing
students to hone their skills in adapting visual narratives for different
platforms, with peer critiques and feedback.

● Provide essential guidance, one-on-one mentoring, and monitoring during

the selection of topics and the development of documentary photo projects,
Page 202 of 282
 emphasizing the achievement of a unique visual storytelling approach.
Foster practical learning through project planning, individual consultations,
and constructive critiques, guiding students in creating and submitting their
Zines, Photo Exhibitions, and Photo books.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 25 marks

Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
B. Semester End Examination
appendix for
more details • Project evaluation – 40 Marks
• Viva-Voce – 10 Marks

References

1. Ascher, S., & Pincus, E. (2007). The Filmmaker’s Handbook: A Comprehensive Guide for the Digital
Age. Plume.
2. Bendavid-Val, L. (2008). National Geographic: The Photographs. National Geographic.
3. Blaney, A., & Shar, C. (Eds.). (2020). Photography in India: From Archives to Contemporary Practice.
Routledge.
4. Block, B. A. (2013). The Visual Story: Creating the Visual Structure of Film, TV and Digital Media.
Focal Press.
5. Boot, C., & Magnum Photos. (2004). Magnum Stories. Phaidon.
6. Brown, B. (2013). Cinematography: Theory and Practice. Taylor & Francis.
7. Cartier-Bresson, H. (1952). The Decisive Moment. Various reprints and editions.
8. Corrigan, T. (2015). A Short Guide to Writing about Film. Pearson.
9. Greenough, S. (Ed.). (1994). The Photographs of Dorothea Lange. Harry N. Abrams.
10. Light, K. (2000). Witness in Our Time: Working Lives of Documentary Photographers. Smithsonian
Books.

Page 203 of 282

FILM CERTIFICATION PROCESS

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name FILM CERTIFICATION PROCESS

Type of
VAC
Course

Course Code MG6VACMLM300

Course Level 300-399

The "Film Certification Process" course delves into the regulatory framework
of the film industry, encompassing certification basics, legal aspects, festival
programming, exhibition practices, and digital censorship. With four modules
Course blending theory and practice, including industry internships, students gain
Summary real-world experience. The course concludes with a capstone project
presentation, fostering critical thinking, research skills, and professional
growth, preparing students for careers in film regulation and management.

Semester VI Credits 3
Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 45

Pre-requisites,
if any

Page 204 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Analyse the principles of film certification and

censorship, citing landmark legal battles,
demonstrating comprehension of legal and ethical K 1, 2
considerations.

2 Evaluate global film certification systems, considering

cultural and political factors' impact on censorship, K, U 2, 4
demonstrating comparative analysis skills.

3 Apply programming techniques in film festival

management to shape the festival's identity, A 3, 4
showcasing synthesis of knowledge in festival
programming.

4 Design marketing strategies for film festivals, utilizing

social media and partnerships, showcasing application An 4, 8
of promotional techniques.

5 Critically assess the impact of digital age on film

censorship, analysing content moderation on online E, C 3, 9
platforms, demonstrating evaluation skills in digital
censorship.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

Page 205 of 282

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Understanding Film Certification

Film Certification and Regulatory Framework-

Introduction to Film Certification - Overview of
international and national film certification systems.
Understanding the purpose and guidelines of film
1.1 classification boards. Legal and Ethical 3 1
Considerations - Exploration of legal and ethical
issues related to film certification and censorship.
Case studies on landmark legal battles in the film
industry.

1 Film Censorship and Freedom of Expression-

Examination of the history and principles of film
1.2 censorship. Discussion on the balance between 3 1
freedom of expression and societal concerns

Comparative Analysis of Certification Systems -

Comparative study of film certification systems
1.3 across different countries. Analysis of the impact of 3 1
cultural, social, and political factors on film
censorship.

Mastering Film Festival Operations

Film Festival Programming and Management -

Introduction to Film Festivals

Overview of the history and significance of film

2.1 festivals- Analysis of different types of film festivals 3 2
and their objectives. Film Festival Programming-
Techniques for selecting and organizing film
2 programs. Understanding the role of programming in
shaping a festival's identity.

Film Festival Marketing and Promotion- Strategies

for promoting and marketing film festivals- Utilizing
2.2 3 2
social media, press, and partnerships for festival
outreach.

Page 206 of 282

 Logistics and Event Management - Planning and
2.3 execution of film festival logistics. Budgeting, 3 2
scheduling, and managing festival events.

Navigating Film Distribution and Censorship in the Digital Age

Film Exhibition, Distribution, and Censorship- Film

Distribution Strategies

Understanding the distribution process for films -

Analysis of different distribution models and
3.1 platforms. Film Exhibition Practices-Study of 3 2
various exhibition formats, including theatres, online
platforms, and alternative venues. Evaluation of the
impact of technology on film exhibition.

3
Censorship and Cultural Sensitivity - Examining
cultural considerations in film censorship. Strategies
3.2 3 3
for navigating cultural differences in global film
distribution

Digital Censorship and Online Platforms -

Exploration of censorship challenges in the digital
3.3 3 3
age. Analysis of content moderation on online
streaming platforms.

Advanced Studies in Film Industry Practices

Capstone Project and Industry Engagement -

Research and Critical Analysis

Independent research on a specific aspect of film

certification, censorship, or festival management-
4 Critical analysis of current issues in the film
4.1 6 4
industry. Industry Internship or Practical
Experience- Placement in a film certification board,
festival organization, or related industry entity-
Hands-on experience in applying knowledge gained
throughout the program.

Page 207 of 282

 Professional Development and Networking-
Strategies for career development in the film
4.2 certification and festival industry. 6 5

Networking with industry professionals.

Capstone Project Presentation and Defense-

Presentation and defense of the capstone project.

4.3 6 5
Reflection on the overall learning experience and
future directions in the field.

5 TEACHER SPECIFIC MODULE

Page 208 of 282

 Classroom Procedure (Mode of transaction)
● Interactive Lectures and Discussions: The course will primarily involve
interactive lectures and discussions to impart knowledge on film
certification and regulatory frameworks. Faculty will present core concepts,
historical perspectives, and legal considerations related to film certification.
Class discussions will encourage students to critically engage with the
material, share insights, and explore diverse perspectives on film
regulation.

● Case Study Analysis: A significant portion of the class will be dedicated

to case study analysis, particularly focusing on landmark legal battles and
instances of film censorship. This approach aims to provide students with
practical insights into the complexities of the film industry's legal and
ethical landscape. Analysing real-world cases will enhance critical thinking
skills and deepen the understanding of legal and ethical considerations in
film certification.

Teaching and ● Film Festival Simulation: As part of the Film Festival Programming and
Learning Management module, students will engage in a film festival simulation.
Approach This hands-on experience will involve selecting films, organizing
programs, and developing marketing strategies. The simulation will
provide a practical understanding of the complexities involved in managing
film festivals, including logistics, programming decisions, and promotional
activities.

● Guest Lectures and Industry Insights: Throughout the semester, industry

professionals, including representatives from film certification boards and
film festivals, will be invited for guest lectures. These sessions will offer
students valuable insights into current industry practices, challenges, and
emerging trends. Networking opportunities with these professionals will
also be facilitated to enhance students' industry engagement.

● Capstone Project Workshop: In preparation for the Capstone Project,

dedicated workshops will be conducted to guide students through the
research and critical analysis process. Faculty will provide guidance on
selecting project topics, conducting independent research, and preparing for
the project presentation and defence.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 25 marks

Assessment
Types • Assignments and Seminars
• Mini Project Presentation

*Please refer
appendix for B. Semester End Examination
more details
• Project evaluation – 40 Marks
• Viva-Voce – 10 Marks

Page 209 of 282

References

1. Banerjee, S. (2016). Censorship in Indian Cinema: Issues and Challenges. Mumbai, India: Sage
Publications.
2. Batra, S. K. (2018). Film Certification in India: A Critical Analysis. New Delhi, India: Oxford
University Press.
3. Ghosh, A. (2014). Film Censorship in India: Legal and Political Dimensions. New Delhi, India:
Cambridge University Press.
4. Jain, M. (2017). Cinema in India: The Censor and the Censored. New Delhi, India: HarperCollins
Publishers.
5. Kapoor, R. (2017). The Politics of Film Certification: A Study of India and the UK. New Delhi,
India: Manohar Publishers & Distributors.
6. Kundu, A. (2019). Censorship and Film Certification: A Comparative Study of India and the UK.
New Delhi, India: Routledge India.
7. Mathur, V. K. (2015). Certification of Films in India: A Critical Study. New Delhi, India: Concept
Publishing Company.
8. Mukherjee, P. (2015). Beyond Censorship: A Comparative Analysis of Film Certification Systems in
India and the USA. Mumbai, India: Popular Prakashan.
9. Sen, S. (2016). Censorship in Indian Cinema: Examining the Role of the Central Board of Film
Certification. Kolkata, India: Aryan Books International.
10. Sinha, S. (2018). Censorship in Bollywood: A Study of Film Certification Process. Mumbai, India:
Viva Books.

Page 210 of 282

SEMESTER - VII

Page 211 of 282

MEDIA ETHICS

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MEDIA ETHICS

Type of
DCC
Course

Course Code MG7DCCMLM400

Course Level 400-499

Information helps the students examine ethical issues arising from the use of
information technology. It encompasses privacy, security, intellectual property,
and digital rights. Addressing questions of access, control, and responsibility,
it guides individuals and organizations in navigating the ethical implications of
information dissemination and technology use. As a crucial aspect of modern
Course society, information ethics ensures fair and responsible information practices,
Summary fostering a balance between technological advancements and ethical
considerations. Studying information ethics equip students with the knowledge
and skills needed to navigate the evolving digital landscape while upholding
principles of fairness, integrity, and accountability.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 212 of 282

COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Students will grasp various ethical theories and principles,

1 such as utilitarianism, deontology, and virtue ethics, and U 1,3, 6
apply them to media contexts.

Develop the ability to critically analyse media content,

2 recognizing ethical implications and dilemmas in C, S 1,4,6
journalism, advertising, and other forms of media.
Comprehend legal constraints and regulations affecting
3 media, emphasizing the importance of balancing freedom E, An, S 4,5,6,10
of expression with ethical responsibilities.

Instill ethical behaviour and decision-making, promoting

4 honesty, accuracy, and fairness in media production and E, An, AP 2,3,5,6
dissemination.

5 Explore the ethical challenges posed by emerging

3,5,7,8,9,
technologies, including issues related to digital privacy, I, C
10
fake news, and social media influence.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom Transactions (Units)

Module Units Course description Hrs CO No.

Introduction to Indian Constitution

A brief introduction to Indian Constitution-Salient

features, Fundamental Rights, Freedom of Press,
1.1 3 1, 2, 3
Concept of Freedom of Speech& Expression,
Democracy & Media as Fourth estate.

1 Press Council of India- Its organizational

structure, functions, history and rationale behind
1.2 3 1, 2,3
its establishment, its powers; Code of conduct for
journalists.

1.3 Advertorials, Paid News, and News as a product 4 2, 3, 4

Laws related to media

History of Laws regulating the media in India,

2 2.1 Defamation clauses, Right to privacy, Right to 3 1, 4
Know, Laws related to Sedition, Obscenity.

Page 213 of 282

 Contempt of Court Act 1971, Information
Technology Act and the Amendment Act, Right
2.2 4 1,3,5
to Information Act, Contempt of Parliament,
Working Journalists Act, Cyber Laws etc.
Laws related to Broadcasting media, Advertising,
Advertising Council of India, Copyright Act
2.3 3 1,2,5
1957, International Copyright laws, Concept of
authorship.
Ethical issues in the field of Advertisements,
2.4 3 1,3,4
Social Media and Fake news

Ethical concerns

An Introduction to the Terms and Concepts of

Ethics: Definition of Ethics and its branches,
3.1 3 1,4, 5
stages of ethical development, Major theories in
Ethics.

Role of conscience in ethical decision making;

3 3.2 code of ethics, Moral relativism and ethno 4 4,5
centrism.

Media ethics as applied ethics; ethics in changing

media environment, Media Ethics: Why Ethics
3.3 5 3, 5
Matters in the Field of Media, Ethical perspectives
of print, audio and visual media; ethical values

Media Influence and Societal Dynamics

Transmission of culture and values through

4.1 media; media and public opinion; media and 5 3,4,5
family; social media addiction.

4 Sex and violence in media; media and de-

humanization; media and consumerism: media as
4.2 the trend setter; media and imperialism: cultural 5 3,4,5
erosion and mental colonization, Media as a
business enterprise with profit motives.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: students explore principles guiding responsible journalism,
digital communication, and content creation. Discussions encompass issues like
truthfulness, objectivity, privacy, and the impact of media on society. Emphasis
Teaching and
is placed on fostering ethical decision-making to navigate the evolving landscape
Learning
Approach of media with integrity.
● Interactive Discussions: Engage participants in exploring dilemmas, bias, and
responsibility in journalism and digital media. Through case studies and debates,
participants analyse real-world scenarios, fostering critical thinking and ethical
decision-making skills. The dynamic exchange of ideas encourages a deeper
understanding of the ethical complexities within the media landscape.
Page 214 of 282
 ● Case Studies: Case studies on media ethics delve into real-world dilemmas,
examining situations involving misinformation, privacy breaches, and bias.
Students analyse ethical implications, evaluate decision-making, and propose
responsible solutions.
● Practicum: Students apply ethical principles through hands-on experiences.
Engaging in real-world scenarios, they navigate challenges in journalism and
digital media, emphasizing responsible decision-making. This practical
approach enhances their ethical acumen, preparing them to uphold integrity and
navigate complex ethical considerations in their media careers.
● Seminars: seminars will provide a platform for in-depth exploration of
journalistic integrity and digital communication responsibility.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

• Assignments, classroom works

• Seminar
Assessment
B. Semester End examination
Types
Theory Exam for 70 marks
• Part A
Short Answer (5 out of 7) 2 x 5 = 10 Marks
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
Essay (2 out of 4) 15 x 2 = 30 Marks

References
1. Basu, D. D. (2020). Introduction to the Constitution of India. LexisNexis.
2. Pathak, J. P. (2018). Press Council of India: Structure, Functions, and Code of Conduct. Oxford
University Press.
3. Bhargava, A. (2019). Media Laws in India: History and Contemporary Perspectives. Cambridge
University Press.
4. Sharma, R. K. (2021). Ethical Challenges in Indian Media: Advertorials, Paid News, and Media
Integrity. Sage Publications.
5. Ward, S. J. A., & Wasserman, H. (2017). Media Ethics: Cases and Moral Reasoning. Routledge.
6. Christians, C. G., Fackler, M., Richardson, K. B., & Kreshel, P. J. (2019). Media Ethics: Cases and
Moral Reasoning. Oxford University Press.
7. Kapoor, A. (2020). Understanding Media Ethics: Concepts and Applications. Pearson Education.
8. Gupta, A. (2018). Ethical Issues in Advertising and Social Media. Macmillan Publishers India.
9. Chaturvedi, R. (2021). Media Influence and Societal Dynamics: A Study of Indian Context.
Bloomsbury Publishing.
10. Singh, S. (2019). The Business of Media: Profit Motives and Ethical Dilemmas. HarperCollins India.
.

Page 215 of 282

ANALYSING THE FILMMAKING PROCESS

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name ANALYSING THE FILMMAKING PROCESS

Type of
DCC
Course

Course Code MG7DCCMLM401

Course Level 400-499

The "Analysing the Filmmaking Process" course offers students a

comprehensive understanding of filmmaking, covering pre-production,
production, and post-production. Beginning with script development, casting,
and planning, students gain insight into pre-production processes. They explore
crew roles, on-set dynamics, and visual storytelling during production. Post-
Course production elements like editing and sound design are thoroughly analysed,
Summary emphasizing editing's narrative shaping. Throughout, students grasp
filmmaking's collaborative nature, delving into its multifaceted aspects. By
examining the creative journey from concept to screen, students develop a
holistic understanding of filmmaking, equipping them with knowledge and
skills for careers in the industry.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 216 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Understand the importance of collaboration and key

cinematic elements in filmmaking, recognizing roles
1 K 4, 5
like cinematographer and mastering lighting
techniques.

Define collaboration's significance, citing its

2 importance in filmmaking processes, fostering K, U 1, 2
comprehension of roles like cinematographer.

Analyse the cinematographer's role, integrating

3 sound design effectively, showcasing application of A 2, 3
technical skills in filmmaking.

Integrate sound design into filmmaking, applying

4 expressive lighting techniques, demonstrating An 2, 8
proficiency in technical aspects of filmmaking.

Master expressive lighting techniques, synthesizing

5 knowledge of cinematography and sound design, E, C 3, 10
demonstrating creativity and technical proficiency.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Crafting the Visual and Auditory Landscape
Collaboration and Cinematic
1.1 2 1
Elements
Definition and Importance of
1.2 2 1
Collaboration in Filmmaking
1
Understanding the Role of a
1.3 2 1
Cinematographer

Integrating Sound Design into the

1.4 2 1,2
Filmmaking Process

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 Mastery of Expressive Lighting
1.5 4 2
Techniques

Filmmaking: From Concept to Creation

2.1 Overview of Filmmaking 4 2

Cinematic Influences: Historical

2.2 3 2,3
and Contemporary Perspectives
2
Comprehensive Overview of the
2.3 3 3
Filmmaking Process

Key Roles in Filmmaking: From

2.4 3 3
Director to Production Crew

Exploring Cinematic Diversity

3.1 Genre and Style Analysis 3 3,4

Analysing Films Across Different

3.2 3 4
Genres
3
Styles and Techniques Employed
3.3 5 4
in Filmmaking

Critical Assessment of Films'

3.4 5 5
Unique Elements

Critical Analysis in Cinematic Contexts

Critical Thinking and Cultural

4.1 4 5
Context

Developing Critical Thinking

4.2 5 5
Skills in Film Analysis
4
Exploring Historical and Cultural
4.3 5 5
Contexts in Filmmaking

Group Analysis of Films with

4.4 5 5
Diverse Cultural Influences

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching and ● Collaboration and Cinematic Elements: In this session, students will
Learning delve into the significance of collaboration in filmmaking, emphasizing
Approach effective communication and teamwork. The role of a cinematographer
will be explored in detail, highlighting their impact on visual
storytelling. The session will also cover the integration of sound design
Page 218 of 282
 into the filmmaking process, providing insights into how audio
elements enhance the cinematic experience.

● Overview of Filmmaking: This session offers a comprehensive

overview of the entire filmmaking process, encompassing historical
and contemporary cinematic influences. Students will gain a deeper
understanding of the key roles involved in filmmaking, from directors
to various production crew members. The session aims to provide a
holistic perspective on the intricacies of bringing a cinematic vision to
life.

● Genre and Style Analysis: Analysing films across different genres and
styles is the focus of this session. Students will explore the distinctive
elements and techniques employed in various genres, enhancing their
ability to critically assess and appreciate diverse filmmaking
approaches. Through practical examples and discussions, the session
aims to broaden students' perspectives on the richness and variety
within the world of cinema.

● Critical Thinking and Cultural Context: This session emphasizes the

development of critical thinking skills in film analysis. Students will
learn to assess films within their cultural and historical contexts,
fostering a deeper understanding of the evolving nature of filmmaking
and its societal impact. Group analysis of films with diverse cultural
influences will encourage collaborative critical thinking and nuanced
interpretations.

● Hands-On Filmmaking Workshop: This practical session provides

students with a hands-on filmmaking experience. Applying the
knowledge gained from previous sessions, students will work in groups
to plan and execute a short film project. The workshop aims to integrate
theoretical insights into practical filmmaking skills, allowing students
to actively engage with the filmmaking process and apply their
analytical abilities in a creative setting.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
B. Semester End examination
appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References

Page 219 of 282

1. Barsam, R. M., & Monahan, D. (n.d.). Looking at Movies: An Introduction to Film. W. W.
Norton & Company.
2. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th
ed.). McGraw-Hill Companies.
3. Corrigan, T., & White, P. (2018). The Film Experience: An Introduction. Bedford/St. Martin’s.
4. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael
Wiese Productions.
5. Kuhn, A., & Westwell, G. (2020). A dictionary of film studies (2nd ed.).
doi:10.1093/acref/9780198832096.001.0001
6. Monaco, J. (2009). How to Read a Film: Movies, Media, and Beyond. Oxford University Press.
7. Sobchack, T. (2016). The Persistence of History: Cinema, Television, and the Modern Event.
8. Thompson, K., Bordwell, D., & Smith, J. (2021). Film History: An Introduction (5th ed.).
Columbus, OH: McGraw-Hill Education.
9. Wartenberg, T. E. (2010). Thinking on Screen: Film as Philosophy. Routledge.
10. Zettl, H. (2013). Sight Sound Motion: Applied Media Aesthetics (7th ed.). Wadsworth
Publishing.

Page 220 of 282

ART AND CRAFT FOR FILMMAKING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name ART AND CRAFT FOR FILMMAKING

Type of
DCC
Course

Course Code MG7DCCMLM402

Course Level 400-499

The "Art and Craft for Filmmaking" course blends artistic exploration with
technical skill development. Students learn visual storytelling, narrative
structure, and technical aspects like cinematography and sound design through
Course practical exercises. Emphasizing collaboration, students work in teams to craft
Summary visually stunning narratives. Hands-on projects hone skills in both artistry and
craftsmanship, preparing students to effectively communicate stories through
film.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 221 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Analyse character psychology and genre K 1, 2

conventions, applying techniques for
multidimensional character development and tailored
genre-specific writing.

2 Evaluate script writing formats, crafting engaging K, U 2, 3

feature films, short films, and TV/web series scripts,
demonstrating comprehension of narrative structures.

3 Apply pre-production skills, including script A 3, 4

breakdowns and storyboarding, utilizing software
tools to visualize scenes effectively for production
planning.

4 Create shooting schedules and film budgets, An 4, 7

integrating script-to-schedule considerations and
resource allocation, showcasing application of
organizational and budgeting skills.

5 Collaborate in group projects, applying theoretical E, C 4, 10

knowledge to practical exercises, receiving and
providing peer feedback for continuous improvement
in script development and pre-production planning.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.
Exploring Genre-specific Writing Techniques
Complex Character Development and Genre-
1.1 specific Writing 3 1

Understanding Complex Character

1 Development- Introduction to character
1.2 psychology and motivations, Techniques for 4 1
creating multidimensional characters, Case
studies of well-developed characters in film

Page 222 of 282

 Writing for Specific Genres- Overview of
various film genres, Tailoring writing style for
1.3 4 1
drama, comedy, thriller, etc., Genre-specific
narrative structures and conventions

Workshop - Complex Character Development

and Genre Writing- Hands-on exercises for
1.4 4 1
character creation, Group discussions and peer
feedback on genre-specific writing

Mastering Scriptwriting: From Feature Films to TV and Web Series

2.1 Scriptwriting Formats 4 2

Crafting Feature Film Scripts- Understanding

the three-act structure, Writing engaging and
2.2 4 2
compelling feature-length scripts, Analysing
successful feature film scripts

Writing for Short Films-Short film narrative

2 structures Constraints and opportunities in
2.3 4 2
short-form storytelling, Workshop - Crafting a
short film script

Scriptwriting for TV and Web Series-

Differences in narrative approaches for
2.4 episodic content, developing characters over 4 2
multiple episodes, Group project - Creating a
TV or web series pilot script

Script Breakdowns and Storyboarding in Filmmaking

Script Breakdowns and Storyboarding

3.1 5 3

Understanding Script Breakdowns-

Importance of script breakdowns in pre-
3.2 production- Identifying scenes, locations, and 5 3
technical requirements, Software tools for
script breakdowns

3.1 Creating Detailed Storyboards- The role of

storyboards in visualizing scenes, Hands-on
3.3 5 3
storyboard creation exercises, Storyboarding
software and techniques

Practical Application - Script Breakdown and

Storyboarding Project- Analysing provided
3.4 scripts for breakdown, Creating storyboards 5 4
for selected scenes, Group critique and
discussion

Shooting Schedules and Film Budgeting

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 4.1 Shooting Schedules and Film Budgeting 6 4

Creating Shooting Schedules- Importance of

organized shooting schedules, Script-to-
4.2 6 4
schedule considerations, Software tools for
scheduling

Understanding Film Budgeting- Components

4
of a film budget, Resource allocation and cost
4.3 6 5
estimation, Real-world budgeting challenges
and solutions

Practical Exercise - Shooting Schedule and

Film Budgeting- Group project - Creating a 5
4.4 6
shooting schedule and budget for a provided
scrip

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Foundations of Complex Character Development: In this session,

students will delve into the intricacies of character development,
exploring the psychological nuances that make characters compelling
and relatable. Through a combination of theoretical discussions and
practical exercises, students will gain insights into crafting
multidimensional characters. Case studies of well-developed characters
in various films will be analysed, setting the stage for the creative
journey ahead.
● Genre-specific Writing Workshop: Building upon the foundational
understanding of character development, this workshop focuses on
Teaching and
Learning tailoring writing styles for specific film genres. Students will engage in
Approach hands-on exercises, crafting scenes and dialogue tailored to different
genres such as drama, comedy, and thriller.
● Crafting Scripts for Various Formats: This session shifts the focus to
scriptwriting formats, covering the essentials of crafting feature film
scripts, short films, and scripts for television and web series. Through a
combination of theoretical insights and practical exercises, students will
learn to adapt their storytelling techniques to suit the demands of
different formats, understanding the nuances of each and experimenting
with their own creations.
● Visualizing Stories - Script Breakdown and Storyboarding:
Understanding the importance of pre-production, this session introduces

Page 224 of 282

 students to the art of script breakdowns and storyboarding. Through
practical exercises, students will learn to identify scenes, locations, and
technical requirements in a script. Production Planning - Shooting
Schedules and Film Budgeting: The final session focuses on the
practical aspects of filmmaking, emphasizing the creation of organized
shooting schedules and comprehensive film budgets. Students will
explore the challenges and considerations involved in resource
allocation and cost estimation.

MODE OF ASSESSMENT
Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
appendix for B. Semester End examination
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References
1. Ascher, S., & Pincus, E. (2012). The Filmmaker’s Handbook: A Comprehensive Guide for the Digital
Age.
2. Biberkopf, E. (2014). Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting
for the Moving Image. Bloomsbury Publishing.
3. Bordwell, D. (2015). Narration in the Fiction Film. London, England: Routledge.
4. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th ed.).
McGraw-Hill Companies.
5. Catmull, E. (2014). Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True
Inspiration.
6. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael Wiese
Productions.
7. Kaufman, S. S., & Larry, D. (2014). The Film Producer: A Handbook for Producing. McFarland.
8. Proferes, N. T. (2004). Film Directing Fundamentals: See Your Film Before Shooting. Focal Press.
9. Rabiger, M. (2014). Directing: Film Techniques and Aesthetics. Focal Press.
10. Smith, D. (2011). Introduction to Cinematography: Learning Through Practice. Routledge.

Page 225 of 282

MOOD LIGHTING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MOOD LIGHTING

Type of
DCE
Course

Course Code MG7DCEMLM400

Course Level 400-499

This course on lighting and cinematography delves into the foundational

principles of using light, lenses, and colour in film. It explores creating diverse
moods—from romance to action and horror—through lighting techniques,
referencing iconic films as case studies. Advanced topics cover bounce light,
contrast, and colour harmony, enhancing students' understanding of visual
Course storytelling. The course culminates in either a research-based dissertation
Summary analysing lighting's artistic qualities or a practical project demonstrating mood
creation through lighting in a film set. Overall, it equips students with the skills
to manipulate light effectively for emotional and narrative impact in
filmmaking.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 226 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Students will demonstrate a comprehensive

understanding of cinematographic elements and their
1 K, U 1, 2
roles in visual storytelling.

Students will apply diverse lighting techniques to

evoke specific emotions and atmospheres in film
2 A 2, 3
scenes.

Students will employ advanced lighting techniques

effectively to contribute to the narrative and emotional
3 A, An 3, 4
impact of cinematic storytelling.

Students will critically analyse lighting choices in

iconic film scenes and interpret their impact on mood,
4 An, E 3, 5
narrative, and visual aesthetics.

Students will showcase their understanding through a

dissertation or a practical project, displaying their
5 C, E 4, 8
skills in mood creation through lighting.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Exploring Cinematic Aesthetics

Lecture sessions discussing lenses, light

1.1 behaviour, movement, tones, colour, and 4 1
filters with visual examples from films.
1
Hands-on workshops allowing students to
1.2 experiment with different lenses, filters, and 8 1
lighting setups to understand their effects.

Page 227 of 282

 Mastering Mood: Lighting in Cinematic Storytelling

Film screenings and analysis sessions

focusing on scenes from diverse genres to
2.1 10 2
understand lighting's impact on different
moods.
2

Practical exercises where students recreate

2.2 specific moods using lighting setups inspired 10 2
by iconic film scenes.

Advanced Lighting Techniques

In-depth sessions on bounce light, contrast,

horror lighting, and colour harmony,
3.1 4 4
including demonstrations and practice
sessions.
3.1

Case studies and discussions analysing how

3.2 these techniques are utilized in famous film 6 4
sequences.

Mastering Cinematic Expression

Workshops guiding students through the

process of crafting a dissertation, including
4.1 8 5
research methodologies and writing
strategies.
4

Practical sessions where students design

lighting setups and capture five shots to depict
4.2 10 5
specific moods, receiving feedback and
guidance.

5 TEACHER SPECIFIC MODULE

Page 228 of 282

 Classroom Procedure (Mode of transaction)

● Engage students through interactive lectures covering theoretical aspects

of cinematographic elements, lighting techniques, and mood creation.
Encourage discussions, questions, and real-world examples to illustrate
concepts.
● Provide practical, hands-on workshops where students experiment with
lighting equipment, lenses, and filters. Allow them to apply theoretical
knowledge practically, fostering a deeper understanding.
● Screen iconic film sequences to analyse lighting techniques and mood
creation. Encourage critical thinking by discussing how lighting choices
contribute to specific emotions and narratives.
● Conduct practical exercises where students work in teams to design and
Teaching and
implement lighting setups to create different moods. Offer feedback and
Learning
guidance to enhance their skills.
Approach
● Use case studies from renowned films to delve deeper into how lighting is
used to evoke emotions and convey narratives. Encourage students to
analyse and critique these examples.
● Invite industry professionals or guest speakers to share their experiences
and insights into lighting and mood creation in film. This exposes students
to real-world practices and trends.
● Provide regular feedback on assignments and projects to facilitate
continuous improvement. Encourage students to reflect on their learning
experiences and the effectiveness of lighting techniques used.
● Utilize technological tools such as simulation software, lighting design
software, or visual aids to enhance understanding and provide practical
exposure.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
• Project evaluation – 50 Marks
more details
• Viva-Voce – 20 Marks

Page 229 of 282

References

1. Alton, J. (2013). Painting with Light. Berkeley University Of California Press.

2. Ashish Rajadhyaksha, & Willemen, P. (2014). Encyclopedia of Indian Cinema. Routledge.
3. Box, H. (2013). Set Lighting Technician’s Handbook. Taylor & Francis.
4. Brown, B. (2013). Cinematography: Theory and Practice. Taylor & Francis.
5. Das, D. (2014). 100 Years of Bollywood. CreateSpace.
6. Jain, M. (2009). Narratives of Indian cinema. Primus Books.
7. Kavoori, A. P., & Aswin Punathambekar. (2008). Global Bollywood. NYU Press.
8. Landau, D. (2014). Lighting for cinematography : a practical guide to the art and craft of lighting for
the moving image. Bloomsbury Academic.
9. Mercado, G. (2013). The Filmmaker’s Eye. Taylor & Francis.
10. Sharmistha Gooptu. (2018). Bengali Cinema: An Other Nation. Roli Books Private Limited.

Page 230 of 282

MISE-EN-SCENE

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MISE-EN-SCENE

Type of
DCE
Course

Course Code MG7DCEMLM401

Course Level 400-499

The foundational elements of this course include the history and analysis of
iconic film scenes that demonstrate effective mise-en-scene. Students examine
the narrative impact of visual elements, character development, and practical
Course exercises in setting design. The course concludes with an in-depth study of
Summary genre-specific mise-en-scene and cultural influences in international films,
providing a comprehensive understanding of cinematic storytelling through
mise-en-scene within a long take.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 231 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Show understanding of mise-en-scène: history,

1 components, and role in visual storytelling across K, U 1, 2
genres.

2 Analyse film mise-en-scène for character, An, E 3, 4

narrative, and emotional impact in iconic scenes.

Acquire practical skills in mise-en-scène, applying

3 lighting, set design, and costume for effective A, C 3, 5
storytelling.
Foster creativity in mise-en-scène setups through
4 practical exercises, enhancing students' visual A, C 4, 8
storytelling skills.
Appreciate diverse mise-en-scène applications,
5 compare genres, recognize cultural influences in An, U 8, 10
visual storytelling.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

The Art and Evolution of Cinematic Composition

Introduction to Mise-en-scene define and

1.1 discuss the historical evolution of mise-en- 5 1
scene.

1 Explore elements like set design, props,

1.2 5 1
costume, lighting, colour, and staging.

1.3 Analyse and showcase effective mise-en- 5 1

scène in iconic film scenes.

Exploring Mise-en-Scene in Film

Page 232 of 282

 2.1 Discuss how visual elements contribute to 5 2
narrative and emotional impact.

Explore character development and

2.2 5 2
2 storytelling aided by mise-en-scene.

Analytical Discussion of Interpretation of

Film Sequences Interpret and discuss
2.3 5 2
various film sequences with a focus on
mise-en-scene.

Mastering Mise-en-Scene: A Practical Approach

Conduct sessions on technical elements

3.1 such as lighting, set design and costumes, 5 4
emphasizing their role in storytelling.

Design and present mise-en-scene setups

3 3.2 and practical exercises that apply technical 5 4
aspects.

Facilitate seminar sessions including peer

3.3 critique sessions, feedback and discussions 5 4.5
on practical assignments.

Diverse Dimensions of Mise-en-Scene

Explore mise-en-scene in different genres

4.1 of fiction, for example noir, comedy, and 5 5
drama.
4 Conduct comparative analyses of
4.2
international films to understand cultural 10 5
influences on mise-en-scène.

5 TEACHER SPECIFIC MODULE

Page 233 of 282

 Classroom Procedure (Mode of transaction)

● Encourage discussions and debates on each module's topics, allowing

students to share opinions and insights.
Teaching and
● Screen relevant film clips to illustrate concepts and encourage critical
Learning
analysis.
Approach
● Conduct hands-on activities to apply theoretical knowledge practically.
● Engage students in comparative studies to understand cultural influences.
● Facilitate peer feedback sessions to encourage collaborative learning.

MODE OF ASSESSMENT
Assessment B. Continuous Comprehensive Assessment (CCA) 30 marks
Types • Assignments and Seminars
• Mini Project Presentation
*Please refer
appendix for C. Semester End Examination
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References

1. Barsam, R. M., & Monahan, D. (2013). Looking at Movies: An Introduction to Film (4th ed.). W. W.
Norton & Company.
2. Bordwell, D., & Thompson, K. (2001). Film art: An introduction. McGraw Hill.
3. Bordwell, D., & Thompson, K. (2013). Film Art: An Introduction (10th ed.). McGraw-Hill
Education.
4. Corrigan, T., & White, P. (2012). The Film Experience: An Introduction (3rd ed.). Bedford/St.
Martin’s.
5. Giannetti, L. D. (2012). Understanding Movies (13th ed.). Upper Saddle River. Pearson.
6. Gibbs, J. (2002). Mise-en-scène: Film Style and Interpretation. Wallflower Press.
7. Martin, A. (2014). Mise en 234cene and film style: From classical Hollywood to new media art.
Palgrave Macmillan.
8. Monaco, J. (2016). How to Read a Film: Movies, Media, and Beyond (4th ed.). Oxford University
Press.
9. Prince, S. (2012). Movies and Meaning: An Introduction to Film (6th ed.). Pearson.
10. Schrader, P. (2019). Transcendental Style in Film: Ozu, Bresson, Dreyer (New edition). University
of California Press.

Page 234 of 282

MUSIC VIDEO PRODUCTION

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MUSIC VIDEO PRODUCTION

Type of
DCE
Course

Course Code MG7DCEMLM402

Course Level 400-499

The “Music Video Production” course provides a comprehensive exploration

of the creative and technical processes involved in crafting compelling music
videos. Students learn conceptualization, storyboarding, cinematography,
editing, and post-production techniques to enhance visual storytelling and
emotional impact. Through hands-on projects and collaboration with artists and
Course production teams, students develop practical skills and build a portfolio of
Summary high-quality music videos. Emphasizing real-world applications, the course
equips students with the knowledge and expertise needed to succeed in the
dynamic music industry, fostering creativity, technical proficiency, and
effective collaboration in music video production.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 235 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Understand the technical and creative aspects of

U 1, 2
cinematography and editing.

2 Apply video production techniques to translate a

A 2, 4
musical concept into a visual narrative.

3 Analyse the narrative structure and visual elements of

An 2, 3
popular music videos.

4 Critically evaluate the effectiveness of different visual

E 4, 6
styles in conveying musical themes.

5 Produce a music video from conceptualization to final

C 3, 10
edit, incorporating creative and technical elements.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate I, Create (C), Skill (S), Interest
(I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Visual Rhythms: Exploring Music Video Production

Foundations of Music Video Production –

Understanding the Medium, Introduction to
1.1 Music Videos-Historical overview, evolution, 4 1
and impact of music videos, Analysis of iconic
1 music videos.
Elements of Music Videos- Study of visual
1.2 storytelling, choreography, symbolism, and 4 1
thematic elements. Exploration of the
relationship between music and visuals.

Page 236 of 282

 Concept Development- Crafting a compelling
concept based on song analysis. Building a
1.3 4 1
mood board and visual references.

Exploring Music Video Concepts and Techniques

Conceptualizing and Shots- Concepts for Music

2.1 Videos, Performance-Based Music Videos, 4 2
Live Recording Music Videos
Storyline-Based Music Videos, Abstract and
2 2.2 Experimental Music Videos, One-Take (No- 5 2
Cut) Music Videos

Playing with the ‘Time’ of the Music Video,

2.3 Time-Lapse and Hyper-Lapse, Creative Video 5 2
Transitions: Match Cut

From Script to Screen: Crafting Dynamic Music Videos

Storyboarding and Planning- Building Blocks,

3.1 Where, When, Who, and What in Context, 4 2
Mood Boards

Mapping Out Your Shots with Your Song,

3.2 Music Video Script, Storyboard, and Shot List, 4 3
Crew Management and Call Sheets

3 3.3 Directing the Actors- Blocking, Directing the 4 3

Playback, Continuity, Slating Takes

Post-Production and Editing- Music Video

Editing Styles, Analysing editing styles and
pacing in popular music videos, Incorporating
visual effects and post-production
3.4 4 4
enhancements, Sound Design and Score
Integration, Syncing audio with visual elements
for maximum impact, Collaborating with sound
designers and composers.

Strategies for Marketing, Distribution, and Live Performance Filming in Music Videos

Marketing and Distribution- Marketing

Strategies for Music Videos, Creating a
4 4.1 6 4
marketing plan for music video promotion,
Leveraging social media and online platforms.

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 Music Video Distribution-Understanding
distribution channels and platforms, Navigating
4.2 6 5
licensing agreements and copyright
considerations.

Shooting a Live Performance in a Recording

Studio- Music Videos in Recording Studios,
Spatial Considerations for Filming a Live
4.3 Recording Session, All Musicians Together: 6 5
Conventional Stage Formations, All Musicians
Together: Unconventional Formations,

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Conceptualization and Discussion Engage students in a dynamic blend
of conceptualization and discussion sessions where they explore the
theoretical underpinnings of music video production. Encourage open
dialogue, fostering critical thinking as students analyse historical and
contemporary music videos, connecting concepts to creative
possibilities.

● Hands-On Workshops and Collaboration Immerse students in practical

learning through hands-on workshops, allowing them to apply
theoretical knowledge in scriptwriting, cinematography, and set design.
Facilitate collaborative projects, promoting interdisciplinary teamwork
to create music videos, enhancing both technical proficiency and
creative collaboration skills.

Teaching and ● Industry Insights and Guest Lectures Provide real-world perspectives
with industry insights through guest lectures from experienced music
Learning
video professionals. Connect students with practitioners who share
Approach their expertise, enriching the learning experience and offering practical
insights into the current trends and challenges in the music video
production field.

● Screening and Critique Sessions Conduct regular screenings of diverse

music videos, followed by critique sessions to hone students’ analytical
and evaluative skills. Develop a discerning eye as students analyse
visual storytelling elements, cinematography techniques, and narrative
structures, fostering a deeper understanding of the artistry and craft
behind music video production.

● Project Presentation and Reflection Culminate the learning process

with project presentations where students showcase their music video
productions. Encourage reflection on the creative process, allowing
students to articulate their decision-making, address challenges faced,
and receive constructive feedback, fostering a comprehensive

Page 238 of 282

 understanding of their own growth and the evolving landscape of music
video production.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment
• Assignments and Seminars
Types
• Mini Project Presentation

*Please refer
B. Semester End examination
appendix for
more details • Project evaluation – 50 Marks (3-5 Minutes Music Video
Production)
• Viva-Voce – 20 Marks

References

1. Ascher, S., & Pincus, E. (2013). The Filmmaker's Handbook: A Comprehensive Guide for
the Digital Age. Plume.
2. Brown, J. (2016). Cinematography: Theory and Practice. Routledge.
3. Curtis, D. R. (2017). The Art of Colour Correction. John Wiley & Sons.
4. Hurbis-Cherrier, M. (2017). Voice & Vision: A Creative Approach to Narrative Filmmaking.
Focal Press.
5. Katz, M. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael
Wiese Productions.
6. Katz, M. (2010). Capturing Sound: How Technology Has Changed Music. University of
California Press.
7. Katzenbach, C. (2019). The Art of Mixing: A Visual Guide to Recording, Engineering, and
Production. Backbeat Books.
8. Kellison, C. (2019). How to Make a Music Video. PowerKids Press.
9. Mortimer, D. A. (2019). Music: The Art of Listening. McGraw-Hill Education.
10. Rose, S. (2017). Music Video Production Handbook. Focal Press.

Page 239 of 282

PRODUCT VIDEO MAKING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name PRODUCT VIDEO MAKING

Type of
DCE
Course

Course Code MG7DCEMLM403

Course Level 400-499

This course is designed to empower students with the skills needed to produce
compelling product videos. Covering essential elements such as video shooting
techniques, camera settings, composition, and lighting, students learn to
capture products in visually appealing ways. The curriculum includes hands-
Course on training in organizing and editing product footage, incorporating post-
Summary production elements for a professional finish. Additionally, students gain
insights into marketing and distribution strategies specific to product videos,
encompassing platform selection, social media promotion, and SEO techniques
for optimal visibility and impact.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 240 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Craft compelling product videos with emphasis on

1 U 1, 2
storytelling, visuals, and unique presentation.

Students master video shooting, camera settings,

2 A 2, 3
composition, lighting, framing for captivating
product visuals.

Expertly organize and edit product footage, adding

3 A 3, 4
transitions and overlays for polished videos.

Create captivating product videos: weave

4 A, C 3, 5
compelling narratives, showcase features, benefits,
and connect emotionally.

Learn product video marketing: platforms, social

5 U, A 3, 9
media promotion, SEO for maximum impact.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Product Video Creation: Principles and Practices

1.1 Understanding Product Video Principles: 3 1

Introduction to effective product video creation

1 1.2 Key principles of storytelling and visual aesthetics. 4 1

1.3 Analysing successful product videos 3 1

Camera, Lighting, and Composition in Product Videography

Page 241 of 282

 2.1 Camera settings, composition, and framing for 4 2
product videos

2 2.2 Lighting techniques for product videography 4 2

2.3 Hands-on practice sessions for shooting product 4 2

videos

Editing Techniques for Product Videos

3.1 Overview of video editing software and tools. 5 3

Organizing and importing footage for editing.
3
Editing basics: Adding transitions, overlays, and
3.2 text. Advanced editing techniques for product 5 3,4
videos

Strategies for Effective Product Video Marketing

Crafting compelling narratives for product videos.

4.1 Highlighting product features, benefits, and unique 8 3,4,5
selling points. Creating emotional connections with
the target audience

4 4.2 Platforms for showcasing product. Utilizing social

media for video promotion. Implementing SEO 10 4,5
techniques for video optimization.

4.3 Work on final product video project. Finalizing and 10 4,5

presenting product videos.

5 TEACHER SPECIFIC MODULE

Page 242 of 282

 Classroom Procedure (Mode of transaction)

● The course will begin with theoretical lectures, focusing on the key
principles of effective product video creation, storytelling, and visual
aesthetics.
● Hands-on practical sessions will cover essential video shooting techniques,
including camera settings, composition, lighting, and framing for visually
appealing product videos.
● Students will gain proficiency in organizing and editing product footage,
incorporating transitions, overlays, and other post-production elements to
Teaching and
achieve polished and professional videos.
Learning
● Elements to achieve polished and professional videos. Emphasis will be
Approach
placed on applying storytelling techniques, crafting compelling narratives
that highlight product features, benefits, and unique selling points,
fostering emotional connections with the target audience.
● The course will provide insights into marketing and distribution strategies
specific to product videos, covering platforms, social media promotion,
and SEO techniques for maximizing video impact.
● The final phase involves project work, allowing students to apply their
skills in creating and presenting refined product videos, integrating
storytelling, and implementing effective marketing strategies.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types • Assignments and Seminars
• Mini Project Presentation
*Please refer
B. Semester End Examination
appendix for
• Project evaluation – 50 Marks
more details
• Viva-Voce – 20 Marks

Page 243 of 282

References

1. Ascher, S., & Pincus, E. (2013). The filmmaker’s handbook: A comprehensive guide for the
digital age. Plume.
2. Blain Brown. (2021). CINEMATOGRAPHY: Theory and practice. Routledge.
3. Cannell, S., & Travis, B. (2018). YouTube secrets: The ultimate guide to growing your
following and making money as a video influencer. Lioncrest Publishers.
4. McKee, R. (1999). Story: Substance, structure, style, and the principles of screenwriting.
Methuen.
5. Mowat, J. (2018). Video marketing strategy harness the power of online video to drive brand
growth. London Kogan Page Limited.
6. Neumeier, M. (2005). The Brand Gap, Revised Edition. Peachpit Press.
7. Ogilvy, D. (2023). Ogilvy on advertising. Welbeck Publishing Group.
8. Olson, R. (1998). Art direction for film and video. CRC Press.
9. Solomon, R. (2016). The art of client service. John Wiley & Sons.
10. Sullivan, L., & Boches, E. (2016). Hey, Whipple, squeeze this: A guide to creating great ads.
John Wiley & Sons, Inc.

Page 244 of 282

MEDIA MANAGEMENT

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MEDIA MANAGEMENT

Type of
DCE
Course

Course Code MG7DCEMLM404

Course Level 400-499

A Media Management course provides students with essential skills for

overseeing the creation, organization, and dissemination of media content.
Encompassing print, broadcast, and digital media, the curriculum emphasizes
media planning, budgeting, and resource allocation. Students gain insights into
technological advancements, audience analysis, and market trends shaping
Course media strategies. Legal and ethical considerations in content creation are
Summary explored, alongside practical elements like project management and crisis
communication. This course cultivates critical thinking and adaptability,
empowering graduates to excel in media management roles by navigating the
ever-changing landscape of the media industry.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
4 60

Pre-requisites,
if any

Page 245 of 282

COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Equips with a comprehensive understanding of media

1 planning, strategy, and execution, empowering them to U 1,3
navigate the dynamic landscape of media in various
industries effectively

Gain expertise in developing targeted media plans and

strategic frameworks, enabling them to effectively
2 communicate messages, maximize reach, and achieve C, S 2,3
specific marketing objectives in today's complex media
landscape.

Equips with the skills to orchestrate successful campaigns,

3 events, and utilize cutting-edge broadcast technologies, E, An, S 1, 2, 3, 7
fostering a strategic and hands-on approach to the dynamic
fields of advertising and media management.

Empowers with the knowledge and skills to identify 2, 3, 7. 8,

4 business opportunities, develop innovative ideas, and E, An, AP
10
create sustainable ventures.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom Transactions (Units)

Module Units Course description Hrs CO No.

Introduction to Media management

Definition of management-functions of
1.1 management-nature and scope of media 4 1, 2, 3
management

1 Overview of media landscape and its evolution.

1.2 Roles and responsibilities of media managers 4 1, 2,3

1.3 Historical context and key industry players. 4 2, 3, 4

Page 246 of 282

 Media Planning and Strategy

Development of comprehensive media plans

2.1 aligned with organizational goals. target 4 1, 4
audiences- market trends- competitive analysis.

Developing effective media plans-Target

2.2 audience identification and analysis-Campaign 4 1,3,
goals and measurement

2 Budgeting and Resource Allocation- content

2.3 4 1,2,
creation-distribution- media marketing.

Strategic decision-making regarding technology

2.4 4 1,3,4,
investments-

Audience Analysis-Understanding audience

2.5 demographics-behaviour- preferences 4 1,4

Advertising, event and Broadcast Technology Management

Advertising and Marketing Communication-

3.1 3 1,4,
Consumer Behaviour and Target Audience

Advertising Media Planning- Creative

3.2 Development in Advertising- Advertising 3 4
Campaign Management

Event Planning and Conceptualization- Event

Budgeting and Financial Management- Venue
3 3.3 Selection and Logistics- Event Marketing and 4 3
Promotion- Risk Management and Contingency
Planning

3.4 Broadcasting Systems and Infrastructure-

Broadcast Signal Processing- Digital
Broadcasting Standards- Media Asset 4 3,4
Management- Emerging Technologies in
Broadcasting

Entrepreneurship Development

Introduction to Entrepreneurship- Entrepreneurial

4.1 3 1,2,3
Mindset and Traits

4 Identifying and Evaluating Business

4.2 Opportunities- Business Planning and Model 3 1,2
Canvas

Page 247 of 282

 Funding and Finance for Entrepreneurs-
4.3 Marketing and Sales for Start-ups- Operations and 4 1,2,4
Supply Chain Management.

Building and Leading a Team- Entrepreneurial

4.4 Networking and Ecosystem- Social 4 1,2,4
Entrepreneurship and Impact.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Classroom Lectures: Incorporating media management in the teaching and

learning approach enhances engagement and comprehension by strategically
utilizing multimedia resources to support educational objectives in the
classroom.
● Interactive Discussions: Engage in an interactive dialogue on media
management in education, exploring its role in fostering dynamic learning
environments and its impact on student engagement and comprehension
within the teaching and learning approach. Foster collaborative discussions
on optimizing multimedia resources to enhance the educational experience
for diverse learning styles.
Teaching and ● Case Studies A case study analysing media management's implementation in
Learning a teaching and learning approach demonstrates its positive influence on
Approach student engagement and knowledge retention, showcasing effective
strategies for integrating multimedia resources in educational settings.
Through real-world examples, it highlights the transformative impact of
media management on fostering an enriched and interactive learning
experience.
● Power Point presentations: its pivotal role in enhancing educational
outcomes, emphasizing effective utilization of multimedia resources to create
dynamic, engaging classrooms that cater to diverse learning styles. It
showcases practical strategies for optimizing media tools to facilitate an
enriched teaching and learning experience.
● Seminars: Examining its impact on fostering interactive classrooms and
improving educational outcomes through the strategic incorporation of
multimedia resources. Participants will gain insights into practical

Page 248 of 282

 applications and effective strategies for leveraging media in the educational
context.

MODE OF ASSESSMENT

A. Continuous Comprehensive Assessment (CCA) 30 marks

Assessment • Assignments, classroom works

Types • Seminar

B. Semester End examination

*Please refer
Theory Exam for 70 marks
appendix for • Part A
more details Short Answer (5 out of 7) 2 x 5 = 10 Marks
• Part B
Answer in one paragraph (6 out of 8) 6 x 5 = 30 Marks
• Part C
Essay (2 out of 4) 15 x 2 = 30 Marks

References

1. Albarran, A. B. (2017). Media management: A casebook approach (Routledge

Communication Series). Routledge.
2. Albarran, A. B., Chan-Olmsted, S. M., & Wirth, M. O. (Eds.). (2017). Handbook of media
management and economics. Routledge.
3. Boone, L. E., & Kurtz, D. L. (2016). Contemporary marketing. Cengage Learning.
4. Dominick, J. R. (2013). Dynamics of mass communication: Media in transition (12th ed.).
McGraw-Hill Education.
5. Doyle, G. (2016). Understanding media economics. Sage.
6. Ferrell, O. C., & Hartline, M. (2019). Marketing strategy. Cengage Learning.
7. Katz, H. C., & Kahn, R. L. (2016). The social psychology of organizations (2nd ed.). Wiley.
8. McQuail, D. (2010). McQuail's mass communication theory (6th ed.). Sage Publications Ltd.
9. Picard, R. G. (Ed.). (2014). Media economics: Concepts and issues (2nd ed.). Sage.
10. Schramm, W. (2016). The process and effects of mass communication. University of Illinois
Press.

Page 249 of 282

 Mahatma Gandhi University
Kottayam

RESEARCH METHODOLOGY

Programme BA (HONS) MULTIMEDIA

Course RESEARCH METHODOLOGY

Name

Type of DCE
Course

Course MG7DCEMLM405
Code

Course 400 - 499

Level

Course The Research Methodology course offers a comprehensive exploration of

Summary research design, data collection, and analysis techniques. Students delve into
both quantitative and qualitative methods, learning to formulate research
questions, conduct literature reviews, and navigate ethical considerations.
Through hands-on exercises and project work, students gain practical
experience in designing and executing research studies. Emphasis is placed on
critical thinking, data interpretation, and effective communication of research
findings. By the end of the course, students are equipped with the skills and
knowledge necessary to undertake rigorous and ethical research in their
respective fields.

Semester VII Credits 4 Total

Hours

Practical/
Course Details Practicu
Learning Approach Lecture Tutorial Others
m

4 60

Pre-
requisites, if
any

Page 250 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Apply critical thinking skills to evaluate research U, K

4
designs and methodologies.

2 Analyse and synthesize literature to formulate relevant U, A

6
research questions and hypotheses.

3 Create research proposals incorporating appropriate U, An

4,6
data collection and analysis techniques.

4 Evaluate ethical considerations in research practices and U, An

4,7
decision-making.

5 Demonstrate effective communication of research C

4,8,10
findings through written and oral presentations.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Research Methods

Definition of research and its
importance, Types of research:
1.1 4 1
qualitative, quantitative, and mixed
methods
Research Design- Formulating research
1 1.2 questions and hypotheses Selection of 4 1
appropriate research designs

Literature Review- Conducting a

comprehensive literature review
1.3 4 1,2
Synthesizing and analysing existing
research

Page 251 of 282

 Ethics in Research- Principles of
research ethics
1.4 3 1,2
Ethical considerations in data collection
and analysis

Quantitative Research Methods

Surveys and Questionnaires- Designing
effective survey instruments
2.1 4 2
Sampling techniques and survey
administration
Experimental Research- Principles of
2.2 experimental design 4 2
Control variables and randomization

Data Collection and Analysis-

2 Techniques for collecting quantitative
2.3 data 4 2
Statistical analysis methods: descriptive
and inferential statistics

Case Studies and Observational

Research- Understanding case study
2.4 methodology 4 2
Conducting observational research and
data interpretation

Qualitative Research Methods

Interviews- Types of interviews:
structured, semi-structured, and
3.1 3 2
unstructured
Interview techniques and protocols
Focus Groups- Planning and conducting
3.2 focus group discussions 3 2
Analysis of focus group data

3 Content Analysis- Coding and analysing

qualitative data
3.3 3 2,3
Interpreting themes and patterns in
textual data

Mixed Methods Research- Integration of

qualitative and quantitative approaches
3.4 3 2,3
Benefits and challenges of mixed
methods research

Research Writing and Presentation

Writing Research Proposals- Structure
4 4.1 and components of a research proposal 3 3,4
Tips for writing an effective proposal

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 Data Visualization and Presentation-
Visual representation of research
4.2 findings 4 3,4
Designing effective presentations and
posters

Academic Writing and Publishing-

4.3 Writing research papers for publication 5 4
Understanding the peer-review process

Final Research Project- Students develop

4.4 and present their own research projects 5 4, 5
Peer review and feedback session

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

Teaching
1. Lectures covering research methodologies and theoretical concepts.
and
2. Interactive discussions for exploring research design and ethics.
Learning
3. Workshops on data collection techniques and analysis methods.
Approach
4. Group projects for hands-on application of research skills.
5. Presentations of research findings to enhance communication abilities.

MODE OF ASSESSMENT

Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks

Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
appendix for B. Semester End Examination
more details
• Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

Page 253 of 282

References
1. Babbie, E. R. (2016). The practice of social research (14th ed.). Cengage Learning.
2. Bryman, A. (2016). Social research methods. Oxford University Press.
3. Cooper, H. M. (2017). Research synthesis and meta-analysis: A step-by-step approach (5th ed.). Sage
Publications.
4. Creswell, J. W., & Creswell, J. D. (2017). Research design: Qualitative, quantitative, and mixed
methods approaches (5th ed.). Sage Publications.
5. Denzin, N. K., & Lincoln, Y. S. (2018). The SAGE handbook of qualitative research (5th ed.). Sage
Publications.
6. Field, A. (2013). Discovering statistics using IBM SPSS statistics. Sage Publications.
7. Gliner, J. A., Morgan, G. A., & Harmon, R. J. (2017). Understanding research methods: An overview
of essentials. Routledge.
8. Maxwell, J. A. (2012). Qualitative research design: An interactive approach (3rd ed.). Sage
Publications.
9. Miles, M. B., Huberman, A. M., & Saldana, J. (2018). Qualitative data analysis: A methods
sourcebook (4th ed.). Sage Publications.
10. Neuman, W. L. (2014). Social research methods: Qualitative and quantitative approaches (7th ed.).
Pearson.

Page 254 of 282

SEMESTER - VIII

Page 255 of 282

VISUAL ENHANCEMENT TECHNIQUES

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name VISUAL ENHANCEMENT TECHNIQUES

Type of
DCC
Course

Course Code MG8DCCMLM400

Course Level 400-499

This course delves into the intricate aspects of filmmaking, spanning from
fundamental set design principles, perspective drawing, and miniature model
creation for special effects to advanced techniques in VFX and digital colour
correction. It introduces students to the nuances of period cinema through an
Course exploration of set and costume design while delving into motion graphics,
Summary green screens, and various keying methods in live broadcasts. Practical
application is emphasized through collaborative miniature set creation and
individual lighting setups, culminating in the shooting and assessment of
specific shots to demonstrate learned skills.

Semester VIII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 256 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Show grasp of set design principles, floor plans,

1 practical skills in miniatures, special effects. A, C 1, 2

Apply realism and historical accuracy in set and

2 costume design for period cinema. U, A 3, 4

Master VFX software, file formats, chroma

3 keying, lighting, live green screens, and motion A, An 2, 3
graphics.

Master advanced post-production skills: colour

4 correction, tracking, motion keying, camera A, E 3, 8
tracking, effects.

Collaboratively design sets, light, and shoot

5 scenes, applying learned filmmaking principles A, C 4, 10
practically.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Set Design Fundamentals: From Principles to Practical Applications

Introduction to set design principles, floor plans,

1.1 and measurements. Perspective drawing 4 1
techniques and its practical application in set
design.

Techniques for creating miniature models and

1.2 practical aspects of special effects (fire, floods, 4 1
1
earthquakes).

Hands-on exercises in creating miniature

tabletop models. Demonstrations and workshops
1.3 on designing and exposing for special effects. 4 1
Examples and analysis of contrast, harmony,
tones, and colour in set design.

Page 257 of 282

 Period Cinema Set and Costume Design

2.1 Understanding the aesthetics and visual 6 2

requirements of period cinema.

2.2 Realism and historical accuracy in set and 6 2

2 costume design.

Analysing sets and costumes from notable period

2.3 films. Exploring how visual elements contribute 6 2
to the authenticity of period settings.

Motion Graphics and Visual Effects Fundamentals

Overview of motion graphics and VFX software.

3.1 File formats, chroma keying, and different 7 4
keying methods. Lighting techniques and the use
of green screens in live broadcasts.
3

Guided exercises in using VFX software for

3.2 basic effects. Practical demonstrations on 8 4
chroma keying and lighting techniques.

Advanced Digital Colour Correction and Visual Effects

Advanced techniques in digital colour

4.1 correction. Tracking, stabilization, motion 10 5
keying, camera tracking, and background
manipulation.
4

Demonstrations on applying roto-brush and post-

4.2 production effects. Working on individual or 20 5
group projects involving VFX techniques and
digital colour correction.

5 TEACHER SPECIFIC MODULE

Page 258 of 282

 Classroom Procedure (Mode of transaction)

● Emphasize practical learning through workshops where students create

miniature sets and execute shots, translating theoretical knowledge into
practical application.
● Utilize visual aids, film clips, and case studies from period cinema and
VFX-heavy movies to illustrate concepts, enhancing understanding
through visual examples.
● Encourage active participation in discussions to stimulate critical thinking
and idea exchange, while peer critiques foster constructive feedback and
collaborative learning.
Teaching and ● Offer guided demonstrations and real-time execution sessions to develop
Learning proficiency in VFX software, digital colour correction, and specialized
Approach techniques.
● Integrate industry-standard software demonstrations and provide access to
online resources and tutorials, enabling students to expand their skills
beyond the classroom.
● Foster teamwork through group projects, such as collaborative miniature
set creation, encouraging collaboration, communication, and shared
learning experiences.
● Promote interactions between students from various disciplines to
cultivate diverse perspectives and innovative approaches in executing
projects and problem-solving.

MODE OF ASSESSMENT
Assessment
A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
B. Semester End Examination
appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

Page 259 of 282

References
1. Ascher, S., & Pincus, E. (2012). The Filmmaker's Handbook: A Comprehensive Guide for the Digital
Age. Penguin Publishing Group.
2. Brinkmann, R. (1999). The Art and Science of Digital Compositing. Elsevier Science.
3. Hurkman, A. V. (2013). Colour Correction Handbook: Professional Techniques for Video and
Cinema. Pearson Education.
4. Rickitt, R. (2000). Special Effects: The History and Technique. Virgin.
5. Shorter, G. (2012). Designing for Screen: Production Design and Art Direction Explained. Crowood
Press.
6. Thompson, K., Bordwell, D., & Smith, J. (2021). Film History: An Introduction (5th ed.). Columbus,
OH: McGraw-Hill Education.
7. Barsam, R. M., & Monahan, D. (n.d.). Looking at Movies: An Introduction to Film. W. W. Norton &
Company.
8. Landau, D. (2014). Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting
for the Moving Image. Bloomsbury Academic.
9. Rabiger, M. (2014). Directing: Film Techniques and Aesthetics. Focal Press.
10. Sobchack, T. (2016). The Persistence of History: Cinema, Television, and the Modern Event.
Routledge

Page 260 of 282

TECHNICAL COMPONENTS OF FILMMAKING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name TECHNICAL COMPONENTS OF FILMMAKING

Type of
DCC
Course

Course Code MG8DCCMLM401

Course Level 400-499

The "Technical Components of Filmmaking" course offers a comprehensive

exploration of the essential technical aspects of filmmaking. It begins with an
in-depth study of camera technologies, cinematography techniques, and
Course lighting. Students also learn about sound design, including recording and
Summary editing techniques. The course emphasizes post-production, teaching advanced
editing, colour grading, and visual effects. Students gain hands-on experience
in these areas to enhance their storytelling skills.

Semester VIII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 261 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

1 Apply advanced visual storytelling and actor

techniques, demonstrating proficiency in conveying
K 1, 2
narrative elements and collaborating effectively with
actors.

2 Integrate sound and visuals with effective on-set

communication, ensuring cohesive artistic vision and
K, U 2, 3
practical understanding through case studies.

3 Utilize advanced lighting techniques and cinematic

composition principles, demonstrating mastery in
A 3, 5
creating diverse moods and framing visually
compelling scenes.

4 Manage film sets and collaborate with crews,

employing problem-solving skills and effective
An 8, 9
communication to overcome challenges during
production.

5 Execute practical exercises, analysing notable film

scenes to enhance understanding and application of
E, C 3, 10
technical components in filmmaking.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Visual Storytelling and Advanced Actor Techniques in Filmmaking

Exploring Visual Storytelling and Advanced

1.1 2 1
Actor Techniques

1 Definition of visual storytelling in

1.2 filmmaking, Techniques for conveying 4 1
narrative elements visually

Page 262 of 282

 Advanced methods of working with actors,
1.3 Exploration of advanced actor-director 4 1
collaboration

Practical exercises in visual storytelling and

4 2
actor techniques

Integrating Sound and Visuals

Integrating Sound and Visuals, Effective On-

2.1 4 2
Set Communication

Principles of integrating sound and visuals in

2.2 filmmaking, Advanced communication skills 4 2
on the film set

2 Collaboration with key crew members:

cinematographers, editors, etc., Techniques
2.3 5 2
for maintaining a cohesive artistic vision
throughout production

Case studies and practical exercises in sound-

2.4 5 3
visual integration

Mastering Advanced Lighting and Cinematic Composition Techniques

Advanced Lighting Techniques and

3.1 5 3
Cinematic Composition

In-depth exploration of lighting techniques for

3.2 different moods, Working with advanced 5 4
camera systems for cinematic excellence
3
Principles of cinematic composition and
3.3 framing, Practical exercises in lighting and 5 4
camera techniques

Analysis of lighting and composition in

3.4 5 4
notable film scenes

Film Set Management and Crew Collaboration Techniques

Film Set Management and Crew

4.1 5 5
Collaboration

4 Setting up and managing a film set effectively,

Overcoming challenges during production
4.2 6 5

Page 263 of 282

 Working with various types of film crews
4.3 (indie, studio, documentary), 6 5
Problem-solving skills in real-time filming
situations

Practical exercises in film set management

4.4 6 5
and crew collaboration

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Visual Storytelling and Advanced Actor Techniques: This session will

kick off with an exploration of the intricate art of visual storytelling in
filmmaking. We will delve into techniques that go beyond the basics,
emphasizing advanced methods to convey narrative elements visually.
Additionally, we will focus on elevating actor performance through
advanced actor-director collaboration.

● Integrating Sound and Visuals, Effective On-Set Communication: In this

module, we will unravel the principles of seamlessly integrating sound and
visuals in filmmaking. The session will emphasize effective
communication on the film set, ensuring that the artistic vision is
maintained cohesively. Students will learn the intricacies of collaborating
with key crew members such as cinematographers and editors.
Teaching and ● Advanced Lighting Techniques and Cinematic Composition: This session
Learning will shine a light on advanced lighting techniques tailored to evoke
different moods in film. Students will explore the nuances of working with
Approach
advanced camera systems to achieve cinematic excellence. Cinematic
composition and framing will be examined in detail, emphasizing the
visual aesthetics that contribute to a compelling cinematic experience.

● Film Set Management and Crew Collaboration: Film set management is a

crucial aspect of successful filmmaking. This module will cover the
essentials of setting up and efficiently managing a film set. Students will
learn how to overcome challenges that may arise during production,
developing problem-solving skills in real-time filming situations.

● Capstone - Application and Synthesis: The final CD will bring together the
knowledge gained throughout the course. Students will engage in a
capstone project that applies the technical components of filmmaking. This
practical exercise will challenge them to integrate visual storytelling,
sound, lighting, and set management skills comprehensively.

MODE OF ASSESSMENT

Page 264 of 282

 A. Continuous Comprehensive Assessment (CCA) 30 marks
Assessment
Types • Assignments and Seminars
• Mini Project Presentation

B. Semester End Examination

*Please refer
appendix for • Project evaluation – 50 Marks
more details • Viva-Voce – 20 Marks

References

1. Biberkopf, E. (2014). Lighting for Cinematography: A Practical Guide to the Art and Craft of
Lighting for the Moving Image. Bloomsbury Publishing.
2. Bordwell, D., Thompson, K., & Smith, J. (2023). Loose leaf for film art: An introduction (13th
ed.). McGraw-Hill Companies.
3. Catmull, E. (2014). Creativity, Inc.: Overcoming the unseen forces that stand in the way of true
inspiration. Random House.
4. Gibbs, J. (2002). Mise-en-scène: Film Style and Interpretation. Wallflower.
5. Kaufman, S. S., & Larry, D. (2014). The Film Producer: A Handbook for Producing.
McFarland.
6. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Michael
Wiese Productions.
7. Rabiger, M. (2014). Directing: Film Techniques and Aesthetics. Focal Press.
8. Smith, D. (2011). Introduction to Cinematography: Learning Through Practice. Routledge.
9. Ulanov, B. (1993). The Way of the Actor: A Path to Knowledge and Power. Mariner Books.
10. Uva, M. (2013). The Film Crew: The Essentials of Filmmaking. Routledge.

Page 265 of 282

TRUTH-TELLING STORYTELLING

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name TRUTH-TELLING STORYTELLING

Type of
DCE
Course

Course Code MG8DCEMLM400

Course Level 400-499

The course in non-fiction filmmaking introduces students to the diverse

landscape of documentary genres, covering historical milestones and notable
filmmakers such as Flaherty and Satyajit Ray. It delves into the evolution of
television documentaries via channels like National Geographic, Discovery,
and History, highlighting their role in social and political discourse.
Course Additionally, students learn the intricacies of crafting compelling non-fiction
Summary narratives, from selecting topics and conducting content research to scripting,
editing, and integrating creative elements for impactful storytelling. The focus
extends to ethical considerations in documentary filmmaking, ensuring a
holistic understanding of this powerful visual medium.

Semester VII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 266 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *
Recall various documentary genres and identify
their defining characteristics and comprehend the
evolution of documentary filmmaking by
1 K, U 1,2
recognizing pivotal moments and influential
filmmakers such as Flaherty.
Apply ethical evaluation to TV documentaries and
assess their societal impact in social-political
2 U, A 2, 3
spheres.
Analyse the storytelling techniques, meticulous
editing, and synchronization used in impactful non-
3 fiction films to understand their narrative A, An 3, 4
effectiveness.
Critically evaluate the historical milestones and
societal impact of TV documentaries, considering
4 their ethical implications and effectiveness in E, C 4, 9
conveying social and political messages.
Master versatile documentary filmmaking skills by
synthesizing knowledge of genres, historical
5 milestones, and storytelling techniques to produce E, C, S 4, 10
engaging and impactful non-fiction films.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Introduction to Documentary Filmmaking

Definition, purpose, and distinguishing features of

documentary filmmaking.
1.1 6 1
Evolution of documentary filmmaking from its
origins to contemporary forms, highlighting key
movements and influential filmmakers.
1 Exploration of various documentary genres such as
observational, participatory, poetic, expository, and
reflexive, with examples and analysis.
1.2 6 1
Different types of Documentaries like Actualities,
Compilation Films, Educational Films, Propaganda
Films, Sponsored Documentaries, Creative
Documentaries…etc

Page 267 of 282

 Ethics in Documentary Filmmaking: Discussion on
1.3 ethical considerations including informed consent, 6 1
representation, bias, and manipulation in
documentary production.

Documentary Production Techniques

Pre-production: Planning and research phase,

2.1 including idea development, scriptwriting, 4 2
storyboarding, and scouting locations.

Production: Practical aspects of documentary

2.2 production including camera techniques, 6 2
interviewing skills, capturing observational
footage, and managing equipment.
2
Post-production: Introduction to editing software,
2.3 techniques for structuring narratives, 4 2
incorporating sound and music, and fine-tuning
the final product.

Distribution and Exhibition: Strategies for

2.4 marketing, funding, and distributing 4 2
documentaries, including film festivals, online
platforms, and theatrical release.

Analysing Documentary Films

Understanding the components of documentary

3.1 filmmaking such as narrative structure, 5 4
cinematography, sound design, and editing.

Case Studies: In-depth analysis of acclaimed

3.2 documentary films from various genres, exploring 5 4
their thematic content, stylistic choices, and impact
on audiences
3
Examination of theoretical frameworks and critical
3.3 approaches to analysing documentaries, including 5 4
feminist, postcolonial, and postmodern
perspectives.

Audience Reception: Consideration of how

3.4 documentaries are received and interpreted by 4 4
audiences, including the role of cultural context,
viewer expectations, and media literacy.

Page 268 of 282

 Documentary Filmmaking in Practice

Collaborative production of a short documentary

4.1 film, from conceptualization to completion, 7 5
applying the skills and knowledge acquired
throughout the course.

Peer review sessions and instructor feedback on

student projects, foster constructive critique and
4.2 reflection on the documentary filmmaking
4 7 5
process.
Exploration of career paths in documentary
filmmaking

Discussion on emerging trends and technologies

4.3 shaping the future of documentary filmmaking, 6 5
such as virtual reality, interactive documentaries,
and transmedia storytelling.

5 TEACHER SPECIFIC MODULE

Page 269 of 282

 Classroom Procedure (Mode of transaction)

● Students will start by understanding the diverse genres within

documentaries, recognizing their unique purposes, such as actualities
capturing real events, compilation films weaving narratives, educational
films imparting knowledge, propaganda films influencing opinions,
sponsored documentaries promoting viewpoints, and creative
documentaries exploring artistic expression.

● The class will delve into the historical evolution of documentaries,

discussing pioneers like Robert J. Flaherty and significant milestones such
as the Lumière brothers' actualities. Key moments, like the impact of
World War II, will be explored, providing context to the development of
documentary filmmaking.

● Students will study the works of influential documentary filmmakers,

focusing on Robert J. Flaherty and Satyajit Ray. Clips from "Nanook of
Teaching and the North" and excerpts from "The Apu Trilogy" will be shown, allowing
Learning for a detailed analysis of early observational techniques and the fusion of
narrative storytelling in documentaries.
Approach
● The course will cover the transition of documentaries from cinemas to
television, highlighting the broader reach and opportunities this shift
provided. Significant moments in television documentary history,
including the advent of dedicated documentary channels, will be discussed.

● Ethical considerations in documentary filmmaking will be introduced,

emphasizing principles such as truthfulness, objectivity, and responsibility
toward subjects and audiences. Students will engage in discussions on
ethical dilemmas in documentary production.

● The curriculum will integrate theoretical knowledge with practical skills.

Students will explore non-fiction film writing, covering topic selection,
research methods, and creative script elements. Practical aspects like script
formatting, editing techniques, and the synchronization of narration,
visuals, and music will be addressed through hands-on activities,
workshops, and discussions.

Assessment MODE OF ASSESSMENT

Types A. Continuous Comprehensive Assessment (CCA) 30 marks
• Assignments and Seminars
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
• Project evaluation – 50 Marks (15-minutes nonfiction program)
more details • Viva-Voce – 20 Marks

References
Page 270 of 282
1. Aparna Sharma (2015). Documentary Films in India: Critical Aesthetics at Work. Palgrave
Macmillan.
2. Artis A. Q. (2014). The Shut Up and Shoot Documentary Guide. Taylor & Francis.
3. Bernard S. C. (2012). Documentary Storytelling: Creative Nonfiction on Screen. Taylor &
Francis.
4. Biewen J., & Dilworth, A. (Eds.). (2010). Reality Radio: Telling True Stories in Sound.
Center for Documentary Studies.
5. Cunningham, M. (Year). The Art of the Documentary: Ten Conversations with Leading
Directors, Cinematographers, Editors, and Producers (ebook). Pearson Education.
6. K. P. Jayasankar, Anjali Monteiro (2016). A Fly in the Curry:Independent Documentary
Film in India, SAGE Publications.
7. Martin, A. (2014). Mise en scène and film style: From classical Hollywood to new media
art. Palgrave Macmillan.
8. NFDC. (1998). Indian Cinema: A Visual Voyage. Publications Division Ministry of
Information & Broadcasting.
9. Rabiger, M. (1987). Directing the Documentary. Focal Press.
10. Shweta Kishore (2018). Indian Documentary Film and Filmmakers: Practicing
Independence. Edinburgh University Press.

Page 271 of 282

PRODUCT BRANDING PRESENTATION

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name PRODUCT BRANDING PRESENTATION

Type of
DCE
Course

Course Code MG8DCEMLM401

Course Level 400-499

This course explores advanced principles and practices of branding, focusing

on the critical assessment of branding strategies across industries, innovative
concept generation, effective communication skills, personal branding
exploration, and cultural and ethical considerations in branding. Students will
Course examine various branding strategies across industries, analyse consumer
Summary behaviour’s impact on brand perception, generate innovative branding
concepts, develop oral communication skills, explore personal interests within
branding projects, and recognize cultural and ethical implications in branding
practices.

Semester VIII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 272 of 282

COURSE OUTCOMES (CO)

CO No. Expected Course Outcome Learning PO No

Domains *

Critically assess the effectiveness of different

1 branding strategies in various industries and also E 2, 3
analyse consumer behaviour and its impact on
brand perception.

Generate innovative branding concepts that

2 resonate with target audiences across different C 1, 2
platforms.

Demonstrate effective oral communication skills

3 in presenting branding strategies to stakeholders. S 3, 4

Encourage students to explore their personal

4 interests and passions within the context of I 4, 9
branding projects.

Recognize the cultural and ethical considerations

5 involved in branding and presentation practices. Ap 8, 10

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT

Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Understanding Consumer Behaviour and Strategy Effectiveness

Introduction to Branding: Historical

1.1 3 1
Perspectives and Evolution

Theoretical Frameworks in Branding: Analysing

1.2 Consumer Behaviour 3 1

1 Impact of Consumer Behaviour on Brand

1.3 Perception 5 1

Case Studies: Effectiveness of Branding

1.4 Strategies in Different Industries 5 1

Innovative Branding Strategies

Page 273 of 282

 Generating Innovative Branding Concepts
2.1 5 2

Multi-platform Branding: Integrating Digital

2.2 5 2
and Traditional Channels
2
Case Studies: Successful Implementation of
2.3 7 2
Innovative Branding Concepts

Group Project: Develop and Present Innovative

2.4 7 1,2
Branding Concepts

Mastering Branding Communication

Oral Communication Skills: Presenting

3.1 7 3
Branding Strategies to Stakeholders
3 Developing Persuasive Pitches and
3.2 Presentations and Mock Presentation Sessions: 8 3
Refining Oral Communication Skills

Personal Branding and Ethical Practices

Aligning Personal Interests with Branding

Projects, creating a Personal Brand: Identifying 5
4.1 Passion Projects 4

4.2 Individual Branding Projects: Connecting

4 5 4
Personal Interests with Branding Concepts

Ethical Practices in Branding: Corporate Social

4.3 Responsibility 10 4,5
Final Project: Ethical Branding Campaign

5 TEACHER SPECIFIC MODULE

Page 274 of 282

 Classroom Procedure (Mode of transaction)
● Present historical perspectives and evolution of branding. Discuss key
milestones and shifts in branding. Encourage student participation through
discussion and questions.
● Introduce theoretical frameworks in branding and consumer behaviour.
Analyse models and theories related to consumer behaviour. Discuss case
studies and facilitate group discussions.
● Explore how consumer behaviour shapes brand perception. Discuss
psychological aspects influencing brand perception. Analyse case studies
Teaching and illustrating consumer behaviour impact.
Learning ● Conduct a workshop on generating innovative branding concepts.
Approach Facilitate brainstorming sessions for creative idea generation. Assign
exercises to encourage thinking outside traditional norms.
● Discuss the integration of digital and traditional channels in branding.
Analyse successful multi-platform branding campaigns. Engage students
in hands-on activities, exploring digital tools.
● Conduct a workshop on persuasive pitches and presentations. Organize
mock presentation sessions for practice.
● Discuss aligning personal interests with branding projects. Guide students
through personal reflection on their passions.

MODE OF ASSESSMENT
Assessment A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer B. Semester End examination

appendix for
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References

1. Aaker, D. A. (2006). Building strong brands. Wiley.

2. Lindstrom, M. (2010). Brand sense: Sensory secrets behind the stuff we buy. Free Press.
3. Millman, D. (2011). Brand thinking and other noble pursuits. Allworth.
4. Neumeier, M. (2006). The brand gap: How to bridge the distance between business strategy
and design. New Riders.
5. Neumeier, M. (2015). The brand flip: Why customers now run companies and how to profit
from it. Pearson Education.
6. Neumeier, M. (2007). Zag: The number one strategy of high-performance brands. AIGA.
7. Ries, A., & Trout, J. (2001). Positioning: The battle for your mind. McGraw Hill LLC.
8. Sharp, B. (2010). How brands grow: What marketers don't know. OUP Australia & New
Zealand.
9. Verma, H. V. (2006). Brand management: Strategy, measurement, and yield analysis. Excel
Books.
10. Wheeler, A. (2012). Designing brand identity: An essential guide for the whole branding team.
Wiley.

Page 275 of 282

MARKETING FILMS: CRAFTING CAMPAIGNS ON SCREEN

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name MARKETING FILMS: CRAFTING CAMPAIGNS ON SCREEN

Type of
DCE
Course

Course Code MG8DCEMLM402

Course Level 400-499

This course offers a comprehensive study of advertising, exploring its

definition, historical evolution in India, functions, principles, and various types.
It focuses on nurturing creativity through the creative process stages,
brainstorming techniques, and analysing successful and unsuccessful
Course campaigns. Campaign planning is extensively covered, including situation
Summary analysis, objectives, budgeting, media selection, and message creation.
Students also learn to craft effective message strategies, measure campaign
results, and utilize research techniques for pre and post-testing.

Semester VIII Credits 4

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach
3 1 75

Pre-requisites,
if any

Page 276 of 282

COURSE OUTCOMES (CO)

Learning
CO No. Expected Course Outcome PO No
Domains *

Students will understand advertising fundamentals,

history, societal impact, especially within the Indian
1 K 1, 2
context.

Students will develop creative skills, practical

campaign planning, and critical analysis of
2 A, An 2, 3
advertising.

Students will master campaign planning, from

analysis to execution, across products and social
3 A, An 3, 4
causes.

Students will master message crafting, using strategic

4 verbal and visual elements for impact. A, C 3, 8

Students will learn to judge advertising effectiveness

using sales, awareness, intention, and research
5 E, C 4, 9
metrics.

*Remember (K), Understand (U), Apply (A), Analyse (An), Evaluate (E), Create (C), Skill (S),
Interest (I) and Appreciation (Ap)

COURSE CONTENT
Content for Classroom transaction (Units)

Module Units Course description Hrs CO No.

Advertising Essentials: Theory, Practice, and Creativity

Introduction to Advertising: Define advertising

and its historical evolution. Discuss the functions
1.1 and role of advertising in contemporary society. 5 1
Explore the principles that guide effective
advertising.
1

Examine various types of advertising (e.g., print,

digital, viral). Discuss the influence of
1.2 5 1
advertising on society. Present case studies to
highlight successful and failed campaigns.

Page 277 of 282

 Introduce the stages in the creative process.
Explore brainstorming techniques and creative
thinking modes.
1.3 6 2
Understand the concept of advertising on the
internet. Discuss the dynamics of viral
advertising. Explore advertising strategies
beyond traditional print and TV.

Strategic Advertising Planning: Objectives, Media, and Execution

Introduce the planning cycle in advertising.

2.1 Explore the importance of situation analysis in 6 2
campaign planning. Discuss setting advertising
objectives and budgeting.

Understand different media types and their

2.2 effectiveness. Explore strategies for media 6 2
2 selection in advertising campaigns. Discuss the
creation and production of advertising messages.

Explore the interplay between advertising

objectives and execution styles. Present
2.3 6 3
examples of successful campaigns with varying
strategies. Understand the importance of budget
planning in advertising.

Effective Campaign Implementation and Message Strategy in Advertising

Explore the execution of budget plans for

3.1 effective campaign implementation. Discuss the 6 4
challenges and solutions in budget execution.
3

Explore the selection of attributes, benefits,

3.2 motives, and appeals in advertising. Understand 6 4
the concept of laddering in message strategy.

Evaluating Message Effectiveness and Campaign Impact in Advertising

Page 278 of 282

 Discuss the strategic use of verbal and visual
elements in crafting messages. Explore execution
4.1 styles and source of delivery for effective 9 5
communication. Analyse the arrangement of
arguments in advertising messages.
4

Discuss key criteria such as sales impact,

4.2 awareness, purchase intention, and emotional
impact in evaluating campaign results. Explore 20 5
the use of GRPs (Gross Rating Points) as a
metric.

5 TEACHER SPECIFIC MODULE

Classroom Procedure (Mode of transaction)

● Define advertising and its historical evolution. Discuss the functions and role
of advertising in contemporary society. Explore the principles guiding
effective advertising. Examine various types of advertising (print, digital,
and viral). Discuss the influence of advertising on society. Present case
studies highlighting successful and failed campaigns.

● Introduce stages in the creative process. Explore brainstorming techniques

and creative thinking modes. Understand advertising on the internet. Discuss
the dynamics of viral advertising. Explore advertising strategies beyond
traditional print and TV.

● Introduce the planning cycle in advertising. Explore the importance of

Teaching and situation analysis in campaign planning. Discuss setting advertising
objectives and budgeting. Understand different media types and their
Learning effectiveness. Explore strategies for media selection in advertising
Approach campaigns.

● Discuss the interplay between advertising objectives and execution styles.

Present examples of successful campaigns with varying strategies.
Understand the importance of budget planning in advertising. Explore the
execution of budget plans for effective campaign implementation. Discuss
challenges and solutions in budget execution.

● Explore the selection of attributes, benefits, motives, and appeals in

advertising. Understand the concept of laddering in message strategy.
Discuss the strategic use of verbal and visual elements in crafting messages.
Explore execution styles and sources of delivery for effective
communication. Analyse the arrangement of arguments in advertising
messages.

● Discuss key criteria for evaluating campaign results (sales impact,

awareness, purchase intention, and emotional impact). Explore the use of

Page 279 of 282

 GRPs (gross rating points) as a metric. Conduct case studies, analysing
successful campaigns based on evaluation criteria. Engage in group
discussions on lessons learned from campaign evaluations. Conclude with a
review of the entire advertising process and its practical applications.

MODE OF ASSESSMENT

Assessment
A. Continuous Comprehensive Assessment (CCA) 30 marks
Types
• Assignments and Seminars
• Mini Project Presentation

*Please refer
appendix for B. Semester End Examination
more details • Project evaluation – 50 Marks
• Viva-Voce – 20 Marks

References
1. Aaker, D. A. (2006). Building Strong Brands. Free Press.
2. Belch, G. E., & Belch, M. A. (2018). Advertising and Promotion: An Integrated Marketing
Communications Perspective. McGraw-Hill Education.
3. Bovee, C. L., & Arens, W. F. (2018). Contemporary Advertising. McGraw-Hill Education.
4. Kotler, P., Keller, K. L., Brady, M., Goodman, M., & Hansen, T. (2019). Marketing
Management. Pearson.
5. Moriarty, S., Mitchell, N., & Wells, W. (2019). Advertising & IMC: Principles and
Practice. Pearson.
6. Neumeier, M. (2006). The Brand Gap: How to Bridge the Distance Between Business
Strategy and Design. New Riders.
7. Ogilvy, D. (1985). Ogilvy on Advertising. Vintage Books.
8. Ries, A., & Trout, J. (2002). Positioning: The Battle for Your Mind. McGraw-Hill.
9. Shimp, T. A. (2019). Advertising, Promotion, and Other Aspects of Integrated Marketing
Communications. Cengage Learning.
10. Solomon, M. R., Marshall, G. W., & Stuart, E. W. (2019). Marketing: Real People, Real
Choices. Pearson.

Page 280 of 282

HONOURS PROJECT / HONOURS WITH RESEARCH

Mahatma Gandhi University

Kottayam

Programme BA (HONS) MULTIMEDIA

Course Name HONOURS PROJECT / HONOURS WITH RESEARCH PROJECT

Type of
PRJ
Course

Course Code MG8PRJMLM400

Course Level 400-499

This course is designed in a duel manner to provide a in depth project to the

learner in his/her area of interest.
Honours Project: This is designed as an opportunity to showcase the knowledge
and skills acquired by the learner through his four years of study in the field of
Course Multimedia.
Summary
Honours with Research Project: This is designed to give the learner an
opportunity to delve into the research world and contribute new areas of
knowledge to the field of Multimedia

Semester VIII Credits 12

Total
Hours
Lecture Tutorial Practical/ Others
Practicum
Course Details Learning
Approach

Pre-requisites,
if any

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HONOURS WITH RESEARCH

Guidelines for Honours (Research) Project *

• For the successful completion of BA Multimedia (Honours with Research), the learner should prepare
a mini research paper based on subjects related to Visual Communication areas.
• The learner should accomplish various stages of research writing and should verify the competence
with academic standards.

PROJECT EVALUATION SCHEME

A. Continuous Comprehensive Assessment (CCA)

· Topic selection, Literature Review – 20 Marks
· Data Collection, Data Analysis, Time management & Efficiency – 20 marks
· Dissertation Writing– 20 Marks

B. Semester End examination

· Research Thesis – 100 Marks
· Viva-Voce – 40 Marks

*More details will be issued later.

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