Post Graduate Diploma in Film and Television
Pathshala Department of Film and Television has given a call for 18 Months post graduate Diploma in Film and Television. This degree is awarded by the UNIVERSITY OF DHAKA.
Application Open
Application Deadline: 31 January 2025
Admission Test: 07 February 2025, Friday at 11.00 am
Interviews with Pathshala: 08 February 2025, Saturday at 11.00 am
The application form will be available at the Pathshala office from 11:00 am to 5:00 pm. The application fee is Tk. 600/- (Six hundred only).
Fellowships are availavle for Indigenous and Female Candidates.
Eligibility:
Bachelor’s degree in any discipline
Minimum GPA of 2.5 at all SSC, HSC, and Graduation levels
APPLY NOW
PROGRAM STRUCTURE
The duration of the Post Graduate Diploma is 18 months (3 Semesters).
The program consists of 30 credits
| Categories of Courses | No. of Courses | Credits |
|---|---|---|
| Core Courses | 6 | 18 |
| Specialization Courses | 2 | 6 |
| Diploma Film Making (Fiction/Non-Fiction) | 2 | 6 |
| Total | 10 | 30 |
SEMESTER PLAN
1st Semester (March – August) 2025
Core Courses (DFT 101-103)
DFT 101: INTRODUCTION TO FILM AND TELEVISION
DFT 102: CINEMATOGRAPHY
DFT 103: VIDEO EDITING AND POST-PRODUCTION
2nd Semester (Septermber – February ) 2025
Core Courses (DFT 104-106)
DFT 104: BROADCAST JOURNALISM
DFT 105: SCREENWRITING
DFT 106: FILMMAKING AND DIRECTION
3rd Semester (March – August) 2026
Specialization Courses (any two, DFT 107-111)
DFT 107: NON-FICTION AND EXPERIMENTAL FILM
DFT 108: FILM AND TELEVISION ACTING
DFT 109: SOUND DESIGN AND MUSIC
DFT 110: ART DIRECTION AND DESIGN
DFT 111: FILM THEORY AND CRITICISM
3rd Semester Core Course/Production
DFT 112: DIPLOMA FILMMAKING (PRACTICAL)
CORE COURSES
DFT 101: INTRODUCTION TO FILM AND TELEVISION (3 Credits)
The purpose of this course is to inform study and understand what is cinema – its aesthetics and language. It will also cover 100 years of world cinema and 75 years of television. We’ll try to outline, clarify and draw connection among artistic, technological, economic and social forces that have shaped and are reflected in film and television history. Historical studies of major films, genres, and movements from the silent era to the present will be undertaken. Topics may include the history of documentary, fiction, or experimental film and video; film genres such as the musical, the horror film, or the melodrama viewed in their historical context. Courses on film movements focus on a national cinema at a specific time (such as German Expressionism, Soviet Socialist Realism, Italian Neo-Realism, French New Wave, or Film Noir).
Selected Readings
Barsam, R. and Monahan, Dave (2010). Looking at Movies: An Introduction to Film (3rd ed.). W. W. Norton and Company. Kristin Thompson and David Bordwell (2009). Film History: An Introduction. MacGraw-Hill. Bruce Kawin and Gerald Mast (2007). A Short History of the Movies, (10th Edition). Longman. Geoffrey Nowell-Smith (1999). The Oxford History of World Cinema. Oxford University Press. Wasko, J. (2005). A Companion to Television. Blackwell Publishing. Pearson, R. E. and Simpson, P (2001). A Critical Dictionary of Film and Television. Routledge.
DFT 102: CINEMATOGRAPHY (3 Credits)
This course will cover Digital Cinematography knowledge, which is needed to become a Director of Photography. In this course, students will learn topics like Introduction to Digital/Electronic Cinematography, mechanisms & functions of a digital cine camera, Difference between traditional & electronic cinematography, How a digital Cine Camera works/ with practical demonstration, advantages and quality output, and about various Formats of Cinematography, use of Filters & Lenses etc. There will be practical classes with Cinematography equipment & lights. Creative lighting techniques are covering topics such as people, environment, spatial relationships, movement, color, special effects, and continuity. This course will cover the need of a student who would like to be a professional Cinematographer and Lighting technician.
Selected Readings
Blain Brown (2002). Cinematography: Theory and Practice: Image Making for Cinematographers, Directors, and Videographers. Focal Press. Kris Malkiewicz and M. David Mullen (2005). Cinematography (3rd Edition). Fireside. Dave Viera and Maria Viera (2004). Lighting for Film and Digital Cinematography. Wadsworth Publishing. Paul Wheeler (2001). Digital Cinematography. Focal Press. Dave Viera and Maria Viera (2004). Lighting for Film and Digital Cinematography. Wadsworth Publishsing.
DFT 103: VIDEO EDITING AND POST-PRODUCTION (3 Credits)
This course will introduce the students to the basic theory of video editing. The history of the technology of Video Editing will be discussed with examples by viewing relevant Videos. They will come to know the types of video editing in the industry. They will learn the use of software and hardware related to Video Editing. They will learn the use of input and output devices and live video editing. Students will get the chance to Edit their own short videos within this course. There will be sessions with professional Video Editors from the Television industry.
Selected Readings
Edward Dmytryk (1984). On Film Editing. Focal Press. Dominic Case (2001). Film Technology in Post Production (2nd Ed.). Focal Press. Karl Reisz and Gavin Millar (2009). Technique of Film Editing (2nd Ed.). Focal Press. Brian McKernan (2005). Digital Cinema: The Revolution in Cinematography, Post-Production, and Distribution. McGraw-Hill/TAB Electronics. Dominic Case (2001). Film Technology in Post Production (2nd Ed.). Focal Press.
DFT 104: BROADCAST JOURNALISM (3 Credits)
The course emphasizes broadcast journalism, taking to the airwaves; students will get a solid news writing foundation. Fundamental goals: introducing and developing television reporting and production skills; strengthening solid writing, reporting, and ethical decision-making skills; and developing the reporting and production skills necessary for success in the broadcast.
Selected Readings
Jane Chapman and Marie Kinsey (2008). Broadcast Journalism: A Critical Introduction. Routledge. Peter Stewart and Ray Alexander (2016). Broadcast Journalism: Techniques of Radio and Television News (7th ed.). Routledge. Philip L. Harris (2011). Television Production and Broadcast Journalism (2 nd ed). Goodheart-Willcox
DFT 105: SCREENWRITING (3 Credits)
This course is designed to introduce students to the fundamentals of developing and writing original scripts for film, television and multimedia. The course emphasizes proper script formats, theme, story, plot, dialogue, character arc, and the process of developing and writing a script. The major focus of the course is to help the students to understand the process of creative writing, socio-cultural perspectives, theories and practices of screenwriting, case study, practicing different genres of screenwriting and making their own presentations. Through classroom discussion of student writing and study of assigned screenplays, films and text, students will strengthen their familiarity with the structural elements of screenwriting with well-developed themes and visualizing schemes. Students will become familiar with the general guiding elements of visual storytelling structure and character development in a variety of styles of screen productions.
Selected Readings
Screenplay: The Foundations of Screenwriting, Delta Book Paperback revised edition – November 29, 2005, Save The Cat! The Last Book on Screenwriting You'll Ever Need, Paperback – May 25, 2005, Blueprint for Screenwriting A Complete Writers Guide to Story Structure and Character Development by Rachel Ballon, J. Michael Straczynski (2002). The Complete Book of Scriptwriting. Writers Digest Books. Cynthia Whitcomb (2002). The Writer's Guide to Writing Your Screenplay: How to Write Great Screenplays for Movies and Television. The Writer Books. Ken Dancyger and Jeff Rush (2006). Alternative Scriptwriting (4th edn). Focal Press. Ellen Sandler (2007). The TV Writer's Workbook: A Creative Approach to Television Scripts. Delta. Steve R. Cartwright (1996). Pre-Production Planning for Video, Film, and Multimedia. Focal Press.
DFT 106: FILMMAKING AND DIRECTION (3 Credits)
This course is designed to give a coherent overview of the development of cinema within Asia, Latin America and Africa, with a special emphasis on films produced in industries. The course will contextualize the cinema of the sub-continent and study closely particular films so students will be able to analyze critically key films of the once united subcontinent. They also will be able to evaluate the historical development of the cinema in this geographical block of the world within the context of common and shared ethos. The full semester will trace the development of cinema in Asia, Latin America and Africa, beginning with an introduction to the study of the cinema before partition, examining the silent era, the studio period, the ‘Golden Age’, the so-called ‘segmentation’ of cinema, the action cinema, and cinema in the recent media transformation respectively in the three continents.
Suggested Readings
Film Directing, Shot by Shot- Steven d. katz, Focul Press 1991, Nicholas Proferes (2004). Film Directing Fundamentals: See Your Film Before Shooting. Focal Press, Sculpting in Time: Tarkovsky The Great Russian Filmmaker Discusses His Art Paperback – Illustrated, April 1, 1989 by Andrey Tarkovsky (Author), Kitty Hunter-Blair (Translator) Alexander Mackendrick, Paul Cronin, and Martin Scorsese (2005). On Film-making: An Introduction to the Craft of the Director. Faber and Faber. Clifford Thurlow (2008). Making Short Films: The Complete Guide from Script to Screen (2nd Ed.). Berg Publishers. Bruce Block (2007). The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media. Focal Press. Matt Hanson (2004). End of Celluloid: Film Futures in the Digital Age. RotoVision. Gerald Millerson (1993). Effective TV Production. Focal Press.
Specialization Courses (any two)
DFT 107: NON-FICTION AND EXPERIMENTAL FILMS (3 Credits)
The course enables the students to have a deeper understanding of non-fiction and experimental films like documentary film, avant-garde film, independent film, underground film, alternative film, queer film, feminist film, as well as non-narrative feature film.
Selected Readings
Lee-Wright, P. (2010). The Documentary Handbook. London: Routledge. Erik Barnouw (ed. 1993). Documentary: A History of the Non-fiction Film. Oxford University Press A. Mclane (2005). A New History of Documentary Film. Continuum. A.L. Rees (2008). A History of Experimental Film and Video. British Film Institute. Gwendolyn Audrey Foster and Wheeler Dixon (eds. 2002). Experimental Cinema: The Film Reader. Routledge. Parker Tyler (1995). Underground Film. Da Capo Press. Michael O'Pray (2003). Avant-Garde Film: Forms, Themes and Passions. Wall Flower. Malcolm Le Grice (2008). Experimental Cinema in the Digital Age. British Film Institute. Robin Blaetz et al (2008). Women’s Experimental Cinema: Critical Frameworks. Duke University Press.
DFT 108: FILM AND TELEVISION ACTING (3 Credits)
Course providing opportunities for students to rehearse perform and evaluate scenes. Different production styles to which performers may need to adjust include production rehearsals with director, single – camera experience and multiple camera experience. Projects in acting for television, video and film, and workshops will provide opportunities for students to rehearse perform and evaluate scenes.
Selected Readings
Michael Caine (2000). Acting in Film. Applause Theatre & Cinema Books. Tony Barr (1997). Acting for the Camera. William Morrow Paperbacks. Ian Bernard (1997). Film and Television Acting: From Stage to Screen. Focal Press.
DFT 109: SOUND DESIGN AND MUSIC (3 Credits)
Sound Design focuses on recording and designing of various diegetic and non-diegetic soundtrack recordings of ambiance and incidental sound, foley soundtrack and mixing apparatus for film and TV. Music Studies aims to provide a space for the study of fields that fall outside of traditional music studies (that is, historical musicology, music theory, ethnomusicology, and music education), particularly those of interest to the students investigating acoustic phenomena. Our main activity is to organize a speaker series. We will also coordinate a reading group to discuss relevant readings suggested by colloquium guests and others related to music and sound studies. All of our events are open to any interested faculty, students and others.
Selected Readings
Tomlinson Holman (2010). Sound for Film and Television. Focal Press. Elisabeth Weis and John Belton (1985). Film Sound: Theory and Practice. Columbia University Press. David A. Bell (1994). Getting the Best Score for Your Film: A Filmmakers' Guide to Music Scoring. Silman-James Press. Richard Davis (2010). Complete Guide to Film Scoring. Berklee Press. Jay Rose (2008). Producing Great Sound for Film and Video. Focal Press. Jay Rose (2002). Audio Postproduction for Digital Video. CMP Books.
DFT 110: ART DIRECTION AND DESIGN (3 Credits)
The major focus of the course is to make students aware of the art and craft of set design for making films and media events and as well as Art Direction to provide practical, technical, and aesthetic guidance. A series of practical assignments ranging from floor plan to design execution will be done for developing students’ skills related to set design on visual media. Through this course, students will be able to critique physical design aspects of films and video productions as well as different event management projects. Students will develop a detailed idea of implementing designing and plotting sets, lights, sound, costume and properties along with the creation of a central visual metaphor of a film, video and event communication. Students will learn harmonization of diverse design elements in a single production for a unique and optimum theme-enhancing visual scheme. Students will also be well versed in production management skills in film and video production as well as in media event management projects.
Suggested Readings
Lucy Fischer, Rutgers University Press (2015) Art Direction and Production Design, Vincent LoBrutto, Allworth Press New York (2002)
DFT 111: FILM THEORY AND CRITICISM (3 Credits)
This course analyses the ways of understanding cinema by looking at various streams of film theories developed in the last hundred years or so. The course traces the roles and functions of films as textual practice and as well as a social institution. Methods of Understanding, Analyzing film texts, issues of authorship, spectatorship, and genre of cinema are also covered. It thus examines the films and social contexts of the Asian, European, Latin American and African film movements and associated canonized authors of world cinema. The social role of cinema and its relationship with ideology, nation and culture will also be discussed.
Selected Readings
Leo Braudy & Marshall Cohen (8th edition) Film Theory and Criticism: Introductory Readings. David Bordwell, Kristin Thompson and now, Co-Author, Jeff Smith's Film Art. Thomas Elsaesser, Malte Hagener (2015), Routledge, Film Theory:An Introduction through the Senses. Andre Bazin (2004), University of California Press, What is Cinema (Vol 1, 2).
DFT 112: DIPLOMA FILMMAKING (6 Credits)
PRACTICAL
The students will be involved in film/television production(s) to showcase their final outcome of learning of productions within their convenient format: Film, Documentary and Fiction or of Hybrid genre. In this practical course, students will develop and prepare their Final Film Project and prepare for pitching before the teacher’s panel. The students will be guided and prepared for writing and presenting their own film proposals in the formal pitching sessions. All students have to develop and submit their semester long assignments and presentations and submit complete film proposals (max 30 minutes length) and make film projects (max 10 minutes length) in groups.
The purpose of this course is to inform study and understand what is cinema – its aesthetics and language. It will also cover 100 years of world cinema and 75 years of television. We’ll try to outline, clarify and draw connection among artistic, technological, economic and social forces that have shaped and are reflected in film and television history. Historical studies of major films, genres, and movements from the silent era to the present will be undertaken. Topics may include the history of documentary, fiction, or experimental film and video; film genres such as the musical, the horror film, or the melodrama viewed in their historical context. Courses on film movements focus on a national cinema at a specific time (such as German Expressionism, Soviet Socialist Realism, Italian Neo-Realism, French New Wave, or Film Noir).
Selected Readings
Barsam, R. and Monahan, Dave (2010). Looking at Movies: An Introduction to Film (3rd ed.). W. W. Norton and Company. Kristin Thompson and David Bordwell (2009). Film History: An Introduction. MacGraw-Hill. Bruce Kawin and Gerald Mast (2007). A Short History of the Movies, (10th Edition). Longman. Geoffrey Nowell-Smith (1999). The Oxford History of World Cinema. Oxford University Press. Wasko, J. (2005). A Companion to Television. Blackwell Publishing. Pearson, R. E. and Simpson, P (2001). A Critical Dictionary of Film and Television. Routledge.
DFT 102: CINEMATOGRAPHY (3 Credits)
This course will cover Digital Cinematography knowledge, which is needed to become a Director of Photography. In this course, students will learn topics like Introduction to Digital/Electronic Cinematography, mechanisms & functions of a digital cine camera, Difference between traditional & electronic cinematography, How a digital Cine Camera works/ with practical demonstration, advantages and quality output, and about various Formats of Cinematography, use of Filters & Lenses etc. There will be practical classes with Cinematography equipment & lights. Creative lighting techniques are covering topics such as people, environment, spatial relationships, movement, color, special effects, and continuity. This course will cover the need of a student who would like to be a professional Cinematographer and Lighting technician.
Selected Readings
Blain Brown (2002). Cinematography: Theory and Practice: Image Making for Cinematographers, Directors, and Videographers. Focal Press. Kris Malkiewicz and M. David Mullen (2005). Cinematography (3rd Edition). Fireside. Dave Viera and Maria Viera (2004). Lighting for Film and Digital Cinematography. Wadsworth Publishing. Paul Wheeler (2001). Digital Cinematography. Focal Press. Dave Viera and Maria Viera (2004). Lighting for Film and Digital Cinematography. Wadsworth Publishsing.
DFT 103: VIDEO EDITING AND POST-PRODUCTION (3 Credits)
This course will introduce the students to the basic theory of video editing. The history of the technology of Video Editing will be discussed with examples by viewing relevant Videos. They will come to know the types of video editing in the industry. They will learn the use of software and hardware related to Video Editing. They will learn the use of input and output devices and live video editing. Students will get the chance to Edit their own short videos within this course. There will be sessions with professional Video Editors from the Television industry.
Selected Readings
Edward Dmytryk (1984). On Film Editing. Focal Press. Dominic Case (2001). Film Technology in Post Production (2nd Ed.). Focal Press. Karl Reisz and Gavin Millar (2009). Technique of Film Editing (2nd Ed.). Focal Press. Brian McKernan (2005). Digital Cinema: The Revolution in Cinematography, Post-Production, and Distribution. McGraw-Hill/TAB Electronics. Dominic Case (2001). Film Technology in Post Production (2nd Ed.). Focal Press.
DFT 104: BROADCAST JOURNALISM (3 Credits)
The course emphasizes broadcast journalism, taking to the airwaves; students will get a solid news writing foundation. Fundamental goals: introducing and developing television reporting and production skills; strengthening solid writing, reporting, and ethical decision-making skills; and developing the reporting and production skills necessary for success in the broadcast.
Selected Readings
Jane Chapman and Marie Kinsey (2008). Broadcast Journalism: A Critical Introduction. Routledge. Peter Stewart and Ray Alexander (2016). Broadcast Journalism: Techniques of Radio and Television News (7th ed.). Routledge. Philip L. Harris (2011). Television Production and Broadcast Journalism (2 nd ed). Goodheart-Willcox
DFT 105: SCREENWRITING (3 Credits)
This course is designed to introduce students to the fundamentals of developing and writing original scripts for film, television and multimedia. The course emphasizes proper script formats, theme, story, plot, dialogue, character arc, and the process of developing and writing a script. The major focus of the course is to help the students to understand the process of creative writing, socio-cultural perspectives, theories and practices of screenwriting, case study, practicing different genres of screenwriting and making their own presentations. Through classroom discussion of student writing and study of assigned screenplays, films and text, students will strengthen their familiarity with the structural elements of screenwriting with well-developed themes and visualizing schemes. Students will become familiar with the general guiding elements of visual storytelling structure and character development in a variety of styles of screen productions.
Selected Readings
Screenplay: The Foundations of Screenwriting, Delta Book Paperback revised edition – November 29, 2005, Save The Cat! The Last Book on Screenwriting You'll Ever Need, Paperback – May 25, 2005, Blueprint for Screenwriting A Complete Writers Guide to Story Structure and Character Development by Rachel Ballon, J. Michael Straczynski (2002). The Complete Book of Scriptwriting. Writers Digest Books. Cynthia Whitcomb (2002). The Writer's Guide to Writing Your Screenplay: How to Write Great Screenplays for Movies and Television. The Writer Books. Ken Dancyger and Jeff Rush (2006). Alternative Scriptwriting (4th edn). Focal Press. Ellen Sandler (2007). The TV Writer's Workbook: A Creative Approach to Television Scripts. Delta. Steve R. Cartwright (1996). Pre-Production Planning for Video, Film, and Multimedia. Focal Press.
DFT 106: FILMMAKING AND DIRECTION (3 Credits)
This course is designed to give a coherent overview of the development of cinema within Asia, Latin America and Africa, with a special emphasis on films produced in industries. The course will contextualize the cinema of the sub-continent and study closely particular films so students will be able to analyze critically key films of the once united subcontinent. They also will be able to evaluate the historical development of the cinema in this geographical block of the world within the context of common and shared ethos. The full semester will trace the development of cinema in Asia, Latin America and Africa, beginning with an introduction to the study of the cinema before partition, examining the silent era, the studio period, the ‘Golden Age’, the so-called ‘segmentation’ of cinema, the action cinema, and cinema in the recent media transformation respectively in the three continents.
Suggested Readings
Film Directing, Shot by Shot- Steven d. katz, Focul Press 1991, Nicholas Proferes (2004). Film Directing Fundamentals: See Your Film Before Shooting. Focal Press, Sculpting in Time: Tarkovsky The Great Russian Filmmaker Discusses His Art Paperback – Illustrated, April 1, 1989 by Andrey Tarkovsky (Author), Kitty Hunter-Blair (Translator) Alexander Mackendrick, Paul Cronin, and Martin Scorsese (2005). On Film-making: An Introduction to the Craft of the Director. Faber and Faber. Clifford Thurlow (2008). Making Short Films: The Complete Guide from Script to Screen (2nd Ed.). Berg Publishers. Bruce Block (2007). The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media. Focal Press. Matt Hanson (2004). End of Celluloid: Film Futures in the Digital Age. RotoVision. Gerald Millerson (1993). Effective TV Production. Focal Press.
Specialization Courses (any two)
DFT 107: NON-FICTION AND EXPERIMENTAL FILMS (3 Credits)
The course enables the students to have a deeper understanding of non-fiction and experimental films like documentary film, avant-garde film, independent film, underground film, alternative film, queer film, feminist film, as well as non-narrative feature film.
Selected Readings
Lee-Wright, P. (2010). The Documentary Handbook. London: Routledge. Erik Barnouw (ed. 1993). Documentary: A History of the Non-fiction Film. Oxford University Press A. Mclane (2005). A New History of Documentary Film. Continuum. A.L. Rees (2008). A History of Experimental Film and Video. British Film Institute. Gwendolyn Audrey Foster and Wheeler Dixon (eds. 2002). Experimental Cinema: The Film Reader. Routledge. Parker Tyler (1995). Underground Film. Da Capo Press. Michael O'Pray (2003). Avant-Garde Film: Forms, Themes and Passions. Wall Flower. Malcolm Le Grice (2008). Experimental Cinema in the Digital Age. British Film Institute. Robin Blaetz et al (2008). Women’s Experimental Cinema: Critical Frameworks. Duke University Press.
DFT 108: FILM AND TELEVISION ACTING (3 Credits)
Course providing opportunities for students to rehearse perform and evaluate scenes. Different production styles to which performers may need to adjust include production rehearsals with director, single – camera experience and multiple camera experience. Projects in acting for television, video and film, and workshops will provide opportunities for students to rehearse perform and evaluate scenes.
Selected Readings
Michael Caine (2000). Acting in Film. Applause Theatre & Cinema Books. Tony Barr (1997). Acting for the Camera. William Morrow Paperbacks. Ian Bernard (1997). Film and Television Acting: From Stage to Screen. Focal Press.
DFT 109: SOUND DESIGN AND MUSIC (3 Credits)
Sound Design focuses on recording and designing of various diegetic and non-diegetic soundtrack recordings of ambiance and incidental sound, foley soundtrack and mixing apparatus for film and TV. Music Studies aims to provide a space for the study of fields that fall outside of traditional music studies (that is, historical musicology, music theory, ethnomusicology, and music education), particularly those of interest to the students investigating acoustic phenomena. Our main activity is to organize a speaker series. We will also coordinate a reading group to discuss relevant readings suggested by colloquium guests and others related to music and sound studies. All of our events are open to any interested faculty, students and others.
Selected Readings
Tomlinson Holman (2010). Sound for Film and Television. Focal Press. Elisabeth Weis and John Belton (1985). Film Sound: Theory and Practice. Columbia University Press. David A. Bell (1994). Getting the Best Score for Your Film: A Filmmakers' Guide to Music Scoring. Silman-James Press. Richard Davis (2010). Complete Guide to Film Scoring. Berklee Press. Jay Rose (2008). Producing Great Sound for Film and Video. Focal Press. Jay Rose (2002). Audio Postproduction for Digital Video. CMP Books.
DFT 110: ART DIRECTION AND DESIGN (3 Credits)
The major focus of the course is to make students aware of the art and craft of set design for making films and media events and as well as Art Direction to provide practical, technical, and aesthetic guidance. A series of practical assignments ranging from floor plan to design execution will be done for developing students’ skills related to set design on visual media. Through this course, students will be able to critique physical design aspects of films and video productions as well as different event management projects. Students will develop a detailed idea of implementing designing and plotting sets, lights, sound, costume and properties along with the creation of a central visual metaphor of a film, video and event communication. Students will learn harmonization of diverse design elements in a single production for a unique and optimum theme-enhancing visual scheme. Students will also be well versed in production management skills in film and video production as well as in media event management projects.
Suggested Readings
Lucy Fischer, Rutgers University Press (2015) Art Direction and Production Design, Vincent LoBrutto, Allworth Press New York (2002)
DFT 111: FILM THEORY AND CRITICISM (3 Credits)
This course analyses the ways of understanding cinema by looking at various streams of film theories developed in the last hundred years or so. The course traces the roles and functions of films as textual practice and as well as a social institution. Methods of Understanding, Analyzing film texts, issues of authorship, spectatorship, and genre of cinema are also covered. It thus examines the films and social contexts of the Asian, European, Latin American and African film movements and associated canonized authors of world cinema. The social role of cinema and its relationship with ideology, nation and culture will also be discussed.
Selected Readings
Leo Braudy & Marshall Cohen (8th edition) Film Theory and Criticism: Introductory Readings. David Bordwell, Kristin Thompson and now, Co-Author, Jeff Smith's Film Art. Thomas Elsaesser, Malte Hagener (2015), Routledge, Film Theory:An Introduction through the Senses. Andre Bazin (2004), University of California Press, What is Cinema (Vol 1, 2).
DFT 112: DIPLOMA FILMMAKING (6 Credits)
PRACTICAL
The students will be involved in film/television production(s) to showcase their final outcome of learning of productions within their convenient format: Film, Documentary and Fiction or of Hybrid genre. In this practical course, students will develop and prepare their Final Film Project and prepare for pitching before the teacher’s panel. The students will be guided and prepared for writing and presenting their own film proposals in the formal pitching sessions. All students have to develop and submit their semester long assignments and presentations and submit complete film proposals (max 30 minutes length) and make film projects (max 10 minutes length) in groups.
NEED TO KNOW MORE
+8801780379399 | +8801318301966pathshala.dft@gmail.com
facebook.com/PathshalaFilmandTelevision
DrikPath, Bhabon, 16 Sukrabad, Panthapath, Dhaka 1207