Film and Television Production Department

University of Gondar
College of Social Science and Humanities
Film and Television Production Department
Redesigned & Edited By:
Misganaw Alemu
(BA in Theatre Arts, MFA in Film Production)
Gondar, Ethiopia
August 2009 E.C
(2017 G.C)
University of Gondar Film & Television Production Page 0

Contributors
Misganaw Alemu (UOG)
Dawit Lakew (AAU)
Tesfu Temesgen (AAU)
Internal Reviewers
Abrham Dires (UOG)
Asnakew Alemu (UOG)
Temesgen Asrat (UOG)
Zewdu Linger (UOG)
Mebratu Hailu (UOG)
External Reviewers
Desalegne Hailu (Film practitioner)
Eskinder Hailu (Film Scholar)
Tadios Getachew (Film scholar)

Background
Film and Television arts activities are emanated from the people. A film, also called a movie or
motion picture, is a series of still images which, when shown on a screen, creates the illusion of
moving images due to the phi phenomenon. This optical illusion causes the audience to perceive
continuous motion between separate objects viewed rapidly in succession. A television program,
television program, or television show is a segment of content intended for broadcast on
television, other than a commercial, channel indent, trailer, or any other segment of content not
serving as attraction for viewership. It may be a single production, or more commonly, a series
of related productions (also called a television series). Film and TV series are popular
entertainment. Like movies, the TV series have also captured the attention of the people and are
very popular. Just like the actors in the cinema, the TV actors are also very famous now.
In the Ethiopian Context, the starting point of film is around 1900(E.C.) by a movie of Jesus
Christ. This movie had opened a door for the introduction of film in Ethiopia. Then, Foreigners
and Ethiopian amateurs exercised to produce film widely in semiprofessional way. In fact until
the regime of Emperor Haile Selassie it had not explained at the right way. It was not
professional performance. Italians had tried to build some cinema houses. After the withdrawal
of Italians, some cinema houses were built and some dramatists got an opportunity to study film
and theatre abroad.
Film and Television arts are the combination of art and science. However, in Ethiopia, the
common understanding of the people for this art was not encouraging. Therefore, to change this
misperception; it was necessary to launch the program at Addis Ababa university in Masters
Level. On the other hand the purpose of the program was to create awareness and cope up the
profession as it is.
Since 2009 E.C, students were graduating at Addis Ababa University in the field of Film
Production at Masters Level. They have been providing a lot of contribution for Ethiopian Film
Industry. After 2009, the history of Film and Television Arts transformed to another episode by
University of Gondar. New departments of Film and Television of the country had been
launched in University of Gondar. University of Gondar is the first University to open Film and
Television production department at the under graduate level Degree Level. The establishment of
these new departments addressed all stakeholders and academicians to produce a qualified
artistic works that can support the overall development of the Film Industry of the country.
Currently the need for skilled Artists had increased more than ever. The country demanded
Professional Artists for sustainable development. But there had been a loop hole to set a Degree
Level Program education system in all Universities.
The University of Gondar is one of the oldest and most well established higher education
institutions in the country. Our University was established in 1954 as a Public Health College
and Training Center (PHC & TC) in joint effort between the Imperial Ethiopian government,

WHO, United States Operation Mission to Ethiopia, and UNICEF. Dictated by the pressing
health needs that existed in the 1940s and 1950s the PHC &TC quickly became established as a
pioneer center for public health practice serving as a key source of Ethiopia’s health
professionals. It remains the Ethiopia’s oldest medical training institution.
This was also the era that gave birth to the philosophy of team approach and community based
teaching of health professionals. During the 1950s all 2nd year clinical nurses, sanitarians and
3rd year health officers would go out into the community and provide health promotion as well
as preventative, curative and rehabilitative services. This early work has developed and evolved
into the Team Training Program (TTP) within the current College of Medicine and Health
Science. Run by the Ministry of Health until 1960, the Training Center joined Haile Selassie I
University - now known as Addis Ababa University, in 1961 by the act of internal decree known
as “Charter of Haile Selassie I University”. In 1978, by bilateral agreement between Karl Marx
University in Germany and Addis Ababa University, a medical faculty was established within
the Training Center – a major milestone in the established of medical education in our country.
During the following years we have evolved according to the changing needs of our society and
endeavored to tailor our institution to the address the urgent needs of our country. In 1980/81 the
Training Center was renamed Gondar College of Medical Sciences (GCMS). Medical training
was provided at the College by German medical experts, creating opportunities for the
subsequent training of Ethiopian staff in Germany.
GCMS gained autonomy from Addis Ababa University in 1992. In 2001 the first new Faculty,
the Faculty of Management Sciences and Economics, was created. The spring of 2003 saw the
next phase of development, changing the name from GCMS to Gondar University College and
creating three new faculties. In 2004 the institution was converted into University of Gondar and
through subsequent years the University opened more academic units. Through it may
incarnations the University of Gondar maintained a steady commitment to quality education,
focused research and relevant community services.
Rationale
The drastic transformation of international developmental communication strategy has changed

the set of skills needed for success in the field of Film and Television in the global work place.
At this time in Ethiopia,
The chronic shortage of Film and Television professionals, the absent of film school, the
uncertainty of the digital feature, above all the country’s current intricate and multifaceted
socio-cultural and socio-economic problem has made the field more difficult than ever. Non-
professional and functional knowledge are no longer sufficient. Competitive professionals skilled
through truly integrated training that marry international level art education and media industry
requirement are needed.

Moreover, as it is known Ethiopia is in struggle to meet the millennium development goal,
Documentary, Feature Film and Television or electronic media’s drama will play a great role as
developmental tool through its unlimited power for collective social change.
Generally, as a means to eradicate poverty and to bring sustainable development through Film
and Television, generally new media’s drama and professionals are needed now than ever.
Therefore, it is a necessary condition for ministry of Education to open the Department Film and
Television in different universities of the country.
1. Program learning outcomes
1.1 General Learning outcomes:
The general learning outcomes of the B.A. program in Film and Television Production are:
o Educate Film and Television artists for cinema houses, film industry and the mass media
o Train Film and Television professionals: script writers, cinematographers, cameraman,
editor, sound man, actors, directors, cinematic critics, television journalist and
researchers in the field of Film and Television; and
o Train Film and Television experts who can serve as promoters of our culture and
identity in Film, Television and drama.
1.2 Specific Learning outcomes:
o Trained actors, directors, dramatic critics, cinematographer and editor of Film and
Television works;
o Preparing conferences on Film and Television productions;
o Providing capacity building schemes to Film and Television professionals and amateur
artists; and
o Enhancing the artistic and cultural awareness of the University community in general
and of the University students in particular;
o Training entertainment journalists
2. Professional Profile
The Film and Television professional is expected to have the following skills and responsibilities
 Conducts research in the areas of Film, Television and electronic media dramas.
 Conduct research on culture based documentary.
 Present Film and Television production;
 Make a film in an international production industry’s requirement.

 Manage skills in Film and Television productions.
 Organizes and facilitates workshops, seminars, and film festivals;
 Criticize, analyze and review Film and TV program and dramas;
 Continues professional development, updated in the field, and assimilate knowledge and
skills for others.
 Serve as script writer, director, cinematographer (cameraman, light man) , editor,
communication and public relation officer, sound man and TV journalist
3. Graduate Profile
A graduate of Film and Television Department is expected to be able to:
Skill
 Write scripts for Film, TV and Documentary.

 Direct Film, TV Drama and TV program.
 Act on Film, TV Program and TV drama.
 Conduct training on Film and Television Program and Drama
 Produce short and full length film, television & Documentary drama
 Translate and adapt Film and Television production;
 Produce and broadcast screen productions for mass media;
 Organize film festivals and events and
 Produce 3D animations
 Edit film, operate camera, work on lighting and sound for film
Knowledge
 Conduct researches and analysis in the areas of film, television and Documentary
dramas
 Criticize, Evaluate and appreciate scripts as well as Film and Television
productions
 Know Seminar preparation on Ethiopian Literature, Culture and Folklore
 Know public relation & advertising application techniques
Attitude
 Understand film production and TV disciplines

 Understand media law & ethics
 Understand intellectual property rights and research ethics
 Understand production management philosophy

4. Program Profile
4.1 Duration of the study
 The program takes four years with eight consecutive and successive semesters for students
to complete their study
4.2 Admission requirements
 Students admitted directly from preparatory school are required to meet the national
higher education enrolment criteria of that year. Students placed to the college of social
sciences and humanities/ College of performing and visual Arts can join the program on
competitive base, and students coming from other departments should take practical and
written examination.
4.3 Graduation Requirements

 Students registered in the Department must take a total of 240 ECTS. A student is
required to have a minimum CGPA of 2.00 upon graduation without any Fx and F grade
in any of the modules/courses.
4.4 Degree Nomenclature
 Upon graduation, students shall be offered a Bachelor of Arts (B.A) Degree in Film and
Television Production. The degree nomenclature in Amharic shall be
“የአርት ባችለር ዲግሪ በፊልምና ቴሌቪዥን አቅርቦት”
4.5 Quality Assurance

 Internal audit as per the guideline set by the university will be employed to follow up the
learning- teaching process and to control the quality of the outcome.
4.6 Method of Assessment and Evaluation Mechanisms

 As per the nationally academic policy, 50% of the course assessment will be generated
from continuous assessment (at least 4-5 continuous assessment methods) and the
remaining 50% shall be for the final examination. The continuous assessment methods as
per the course nature include test, assignment, performance, presentation, and quiz.

 By the nature of the program, continuous assessment will be applicable in different
means, but it’s not mandatory to use 50 % of the assessment for continuous assessment
and the rest 50% for final exam. Every course in this program will be treated according to
the special features and characteristics it demands. The continuous assessments can
contain individual and group assignments, performance, presentation, quiz, and the final
exam can also be treated according to its unique feature either to use written exam or
practical evaluation. It is flexible.
Grading Scale and Letter Grade System for Ethiopian Public Universities
Raw Mark Corresponding Corresponding Status Class

Interval-[100 Fixe d Number Letter Grade Description Description
%] Grade
[90,100] 4.0 A+ Excellent
First class
[85, 90) 4.0 A withGreat
[80, 85) 3.75 A- distinction
[75, 80) 3.5 B+ Very Good First class with

[70, 75) 3.0 B Distinction
Good First class
[65, 70) 2.75 B-
[60, 65) 2.5 C+ Second Class
[50, 60) 2.0 C Satisfactory
[45, 50) 1.75 C- Unsatisfactory Lower Class
[40,45) 1.0 D Very Poor Lower Class
[30,40) 0 Fx *Fail Lowest Class
[<30) 0 F Fail Lowest Class
* Remarks
1. A student cannot graduate with a grade of less than 2.00 out of the 4-scale grading
system. Therefore, he/she should at least score a minimum of a C grade and above which
is 50% of the competency.
2. A student with ‘C-‘can pass to the next semester if it is first semester period and it
increases with level/year of students. A student with a good stand can graduate if he/she

scores ‘C-‘in any course under module. However, if the ‘C-‘grade is for a Module or for a
course as a module, he/she must re-sit for another exam to remove ‘C-
3. A student with all ‘Ds’ cannot pass to the next semester. A student with a good stand can
pass to the next semester and even can graduate if he/she scores D in any course under
module. However, if the ‘D’ grade is for a Module or for a course as a module, he/she
must re-sit for another exam to remove ‘D’.
4. A student with Fx must sit re-exam with minor support for two times and the grade will
be any of what a student can score.
5. A student with F must repeat the course/module for two times and the grade will be
any of what a student can score.
5 Course code assignments

Major area courses of the program are represented by FiTv respectively. The codes for the
courses are represented by 4 digits. The first digit indicates year of study, the middle one digit
refers to year of sequence and the last two digits stand for sequence of semester and course.
5.1 Mode of Delivery

Since Film and Television is manly dependent of skill development with long time duration, the
general modes of course delivery to be utilized in the program is mainly parallel and block in
some courses. As the nature of most courses are practical and needs long period. Moreover, the
mode of delivery for each course is mentioned in the course breakdown.
5.2 Method of teaching
 The program of Film and Television mainly utilizes the student centered approach in its
learning-teaching activities. Depending on the nature of the course, teaching modalities
such as lecture, group work and discussion, stage performance, screen performance,
studio performance, fieldwork, critical review of papers, term paper works, and
presentations will be employed in the teaching-learning process.
 Teachers-students ratio will be as follows:
o 1 screen writing and Acting Teacher = 5-10 students
o 1 Production and Directing Teacher = 5-10 Students
5.3 Course Policy
The following components of the article will be considered as course policy.
 A student is required to attend all lecture sessions as well as field work of courses. Except
for extenuating circumstances, students are required to maintain a minimum of 80%
attendance to earn credit in the given course. However, some courses may demand 100%
attendance where such full attendance is academically indispensable.
 In addition, a student is expected to actively participate in the class discussions, perform
all tasks directed by the course instructor, report individual and group home take
assignments on time.
6. Resource requirement
6.1 Material resource
Conducting Film and Television education without video and photo camera, Film studio and
film materials is unthinkable. Due to this, for the successful running of the program the
following human and material resources are basic to open the program at any university.
 Modern Film studio with its full stage properties.
 Audio visual studio for Film and TV
 Different kinds of Video cameras, Video deck, television, lights, tape recorders,
sound equipment’s, traditional and modern costumes, make ups, carpets, household
materials and furniture, stage properties, castles (decorations), hammers, sows, nails,
ladders, rooms, puppets, cartoons, woods, paints, brushes and masks etc.
 Books, journals, articles, periodicals, proceedings,
 LCD projectors
 Laptop and new generation computers
 Classrooms, Offices for the department and staff, meeting rooms, department library
 Office furniture
 Field equipment
 Resource center (Store)

6.2 Human Resource
 Instructors
1. Mr. Misganaw Alemu (BA In Theatre Arts, MFA In Film Production) is active staff.
2. Others will be recruited
3. Local and expatriate staffs (permanently & in contract) will join based on academic
merit
 Secretaries
 Store keepers
 Technical assistants
 Technicians
6.3 Budget resources

 Tour Budget
 Production
 Workshop Budget
 Internship Fee
 Seminar and Festival Film studio
***Most Productions requires general and specific expenses according to their
length, type and setting. The cost of the productions should be designed as to the
nature of the performance. Most of Film and Television Production should be
staged throughout the country to promote diversity and share cultural experiences
among nations and nationalities. Workshops are vital platforms to: present
researches on Film, TV and sister arts, develop skills and update new trends.
Students must involve in apparent ship process in order to obtain professional
experience as well as to facilitate job opportunities after graduation.

Course Distribution and Semester Breakdown
Table I
No Year I ; Course EtCTS Year I; Course EtCTS
Semester I code Semester II code
1 History of FiTv 4111 5 Fundamentals FiTv 4121 5
World Cinema of Script Writing
2 Fundamentals FiTv4112 5 Communication FiTv 4122 5
of TV Research
Production Methods
3 Media FiTv4113 5 Fundamentals FiTv 4123 5
Communication of Directing
Theory
4 Screen Acting FiTv4114 5 Cinematography FiTv 4124 5
Theory
5 Logic 5 Art Direction for FiTv 4125 5
Television and
Film
6 Communicative 5 Social 5
Skill psychology
7 Seminar on Pass/ fail Visiting Pass/ fail
Ethiopian Ethiopian
History UNESCO
registered
heritages

Table II
No. Year II; Course EtCTS Year II; Course EtCTS

1 Writing short FiTv 4211 5 Editing Theory FiTv 4221 5
Film & Technique
2 Directing short FiTv 4212 5 Writing for FiTv 4222 5
Film Documentary
3 Cinematography FiTv 4213 5 Sound FiTv 4223 5
Practice I Production for
Film & TV
4 Film Production FiTv 4214 5 Film Theory and FiTv 4224 5
Management Criticism
5 Silent Film FiTv4215 5 Cinematography FiTv 4225 5
Production Practice II
6 Writing skill 5 Computer 5
Science (IT)
Seminar on Pass/ fail Seminar on Pass/ fail
Ethiopian Ethiopian
cultural heritage literature and
folklore

Table III
No Year III Course EtCTS Year III Course EtCTS

1 African Cinema FiTv4311 5 Ethiopian FiTv4321 5
cinema
2 Media Law and FiTv 4312 5 Music video FiTv 4322 5
Production
Ethics
3 Documentary FiTv 4313 5 Writing for FiTv 4323 10

Production Feature film
4 Film Adaptation FiTv 4314 5 Tv Studio FiTv 4324 5

production
5 Intermediate FiTv 4315 5 Advanced FiTv 4325 5

Editing
Editing
Technique
6 Civics and 5
Ethical
Education
Seminar on Pass/ fail Seminar on Pass/ fail
Ethiopian
ritual/traditional
Known
performance of hero/
heroine
Ethiopians
biography

Table IV
No Year IV Course code EtCTS Year IV Course EtCTS
Semester I Semester II code
1 Film Analysis FiTv4411 5 Principles of FiTv 4421 5
Advertising
& Public
Relations
2 3D Digital FiTv 4412 5 Intellectual FiTv4422 5
animation Property
Techniques Rights
3 Sitcom FiTv 4413 10 Feature film FiTv 4423 10
production Production
4 Film FiTv 4414 5 Graduation FiTv 4424 10
Marketing:- project
Exhibition &
Distribution
5 Film Festival FiTv 4415 5
Organization

Course syllabus and distribution
Background information
Course Name: History of World Cinema
Course code: FiTv4111
Instructor’s name __________

Phone no.: Mobile____________ Office ___________
Email___________
Office number _________
Contact hour__________
I. Course Description: This course aims to exposing the student to the major landmarks or
milestones along the history of film as an art form. In doing so, the course is structured to enable
the student understand the major artistic, technological, scientific inventions as well as
commercial viability the film medium has gone through over more the past hundred years from
the silent era to the advert of sound, from the invention of television to the emergence of color
film, and the popularization of digital video in the present day.
Course Objectives
- To inspire the student with the tenacity of filmmakers to bring the medium capable of
visual story telling.
- To empower the student with historical knowledge about the evolution of film.
- To expose the student to the various aspects – the technological, aesthetical, scientific
and economical aspects involved in filmmaking.
Learning Outcomes
- The students will be able to identify the major milestones that perfected the art and
practice of film.
- The student will be able to also relate the key aspects of the film medium along the
evolution to the cultural, social, ideological as well as economical break throughs that
took place globally, over the past century.
III. Mode of Delivery and Study Hour
The mode of delivery for this course is interactive teaching and learning, independent learning
and collaborative learning. The mode of delivery includes lectures hours, group and individual
practical assignments, practical assessments, tutorials and independent study.

Mode Total
of Lectu Assess Present Study
Assignment Tutorial Home Study
Deliv re ment ation Hours
ery
Semes
ter 32hrs 18hrs 20hrs 15hrs 35hrs 15hrs 135
Wise
V. Contents
Chapter I the beginning of world cinema
Chapter II German Expressionism (1920s)
Chapter III Soviet Montage (1920s)
Chapter IV Hollywood After the Coming of Sound
(Part I: The Introduction of Sound and the Classical Style)
Chapter V Hollywood After the Coming of Sound (Part II: The Studio System and
Exceptional Auteurs (1930-1945)
Chapter VI Hollywood After the Coming of Sound (Part III: The Genre Film)
Chapter VII Italian Neo-Realism (1945-1951)
Chapter VIII The French New Wave (1959-1967)
Chapter IX European Art Cinema (1960s)
Chapter X Documentary Traditions/Cinéma Vérité and Direct Cinema
Chapter XI Contemporary World Cinema – Iranian Cinema
Chapter XII Third cinema
VI. Mode of assessment
Quiz………………………………………………………………………10
Research paper……………………………………………………………15
Preparing presentation ………………………………………………….. 10
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15

Final exam ……………………………………………………………….. 30
VII. Reading Materials
Abel, Richard, ed. Silent Film. New Brunswick: Rutgers University Press, 1996.
Allen, Robert and Douglas Gomery. Film History: Theory and Practice. New York: Alfred A.
Knopf, 1985.
Barnouw, Eric. Documentary: A History of the Non-Fiction Film. New York: Oxford
University Press, 1993.
Bazin, André. What is Cinema? Vol. I. Berkeley: University of California Press, 1967.
Biskind, Peter. Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film.
New York: Simon & Schuster, 2004.
---. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock’n’Roll Generation Saved
Hollywood. New York: Touchtone, 1998.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film
Style and Mode of Production to 1960. New York: Columbia University Press, 1985.
Bordwell, David, and Kristin Thompson. Film History: An Introduction. New York:
McGraw-Hill, 2003.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New
York: Oxford University Press, 1999.
Casetti, Francesco. Theories of Cinema: 1945-1995. Austin: University of Texas Press, 1999.
Dabashi, Hamid. Close Up: Iranian Cinema, Past, Present, and Future. London: Verso, 2001.
Eisner, Lotte. Fritz Lang. New York: Da Capo, 1976.
---. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max

Reinhardt.Berkeley: University of California Press, 1973.
Elsaesser, Thomas. Metropolis. London: British Film Institute, 2000.
---. Weimar Cinema and After: Germany’s Historical Imaginary. London: Routledge, 2000.
Ferro, Marc. Cinema and History. Detroit: Wayne State University Press, 1988.
Grant, Barry, and Jeannette Sloniowski, eds. Documenting the Documentary: Close
Readings on Documentary Film and Video. Detroit: Wayne University Press, 1998.
Hanson, Matt. The End of Celluloid: Cinema Futures in the Digital Age. Hove: RotoVision,
2003.
Hjort, Mette; MacKenzie, Scott, eds. Purity and Provocation: Dogma 95. London: BFI
Publishing, 2003.
Issari, M. Ali; Doris A. Paul. What is Cinéma Vérité?. London: The Scarecrow Press, 1979.
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film.
Princeton, N.J: Princeton University Press, 1947.
Leyda, Jay. Sergei Eisenstein - Film Form: Essays in Film Theory. New York: Harcourt, 1949.
Mamber, Stephen. Cinema Verite in America: Studies in Uncontrolled Documentary.
Cambridge, The MIT Press, 1974.
Marie, Michel. The French New Wave: An Artistic School. Oxford: Blackwell Publishing, 2003.
Mast, Gerald, and Bruce Kawin. A Short History of the Movies. Boston: Allyn Bacon, 2002.
Mellancamp, Patricia, and Philip Rosen, eds. Cinema Histories, Cinema Practices.
Frederick, Md: University Publications of America, 1984.
Michelson, Annette. Kino-Eye: The Writings of Dziga Vertov. Los Angeles: University of

California Press, 1984.
Mulvey, Laura. Citizen Kane. London: BFI Publishing, 1993.
Neale, Steve. Genre and Hollywood. London: Routledge, 2000.
Neupert, Richard. A History of the The French New Wave Cinema. Madison: The University of
Wisconsin Press, 2002.
Overbey, David, ed. Springtime in Italy: A Reader on Neo Realism. Connecticut: Archon Books,
1978.
Schatz, Thomas. “The New Hollywood.” reprinted in Julian Stringer, ed. Movie Blockbusters.
London: Routledge, 2003. 15-44.
Sklar, Robert. An International History of the Medium. New York: Prentice Hall, 2002.
Approval sheet
----------------------------- -----------------------
Instructor’s name Signature
------------------- -------------------------
Program coordinator’s name Signature

Course Name: Fundamentals of TV Production

Email___________
I. Course Description: this course is designed to cover topics of Television Camera , Studio
Lighting , Audio , Pre-Production ,Technical Director (Switcher) , Director and Graphics.
Course Objectives:
- Introducing television production to students

- Giving brief idea about television crew and setup
- Teach them about basic theory, techniques and procedures of television production.
Learning Outcomes:
The student will be able to:
sion production.
y employment opportunities in the television industry.


Mode Total
ery
Semes
Wise
V. Content
Unit I Introduction to Television
Unit II: The Camera
Unit III: Studio Lighting
Unit IV: Audio
Unit V: Pre-Production
Unit VI: Technical Director (Switcher)
Unit VII: Director
Unit VIII: Graphics
Quiz………………………………………………………………………10
Visiting studio and report ………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30

Barnouw, Eric Documentary – A History of The Non-fiction Film, 2 Nd revised edition,

New York: Oxford University Press 1993 (1974)
Bordwell, David & Thompson, Kristin Film Art. An Introduction, 7Th edition, Boston:
McGraw-Hill 2004 (1979)
Ellis, John ”What Does The Script Do?”, The Yearbook of English Studies, 1990:20
Elsaesser, Thomas & Buckland, Warren, Studying Contemporary American Film – A

Guide To Movie Analysis, London; Arnold 2002
Gibbs, John Mise-En-Scène – Film Style and Interpretation, London: Wallflower Press
2002
Maras, Steven, Screenwriting – History, Theory and Practice, London: Wallflower Press
(2009)
Nelmes, Jill, “Realism and Screenplay Dialogue”, in Analysing The Screenplay, ed. Jill
Nelmes, New York: Routledge (2011)
Pasolini, Piero Paolo, ”The Screenplay as a ”Structure That Wants To Be Another

Structure”
in Heretical Empiricism (original title: Empirismo Eretico), 2nd
English edition, ed. Louise K.
Barnett, translated by Ben Lawton & Louise K. Barnett, Washington DC: New Academia
Publishing 2005 (1972)
Price, Steven, The Screenplay – Authorship, Theory and Criticism, Hampshire: Palgrave
Macmillan (2010)

Internet
Reeves, Carson (pseudonym), “Screenwriter Interview: Jane Goldman”, from
http://scriptshadow.blogspot.se/2012/01/screenwriter-interview-jane-goldman.html (2012-
08-17)
Carson Reeves (pseudonym),”F. Scott Frazier (The Numbers Station) Interview”, from
http://scriptshadow.blogspot.se/2011/07/f-scott-frazier-numbers-station.html (2012-08-17)
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Media Communication Theory

Email___________
I. Course Description: The mainstay of this course will be to introduce the student to the major
theoretical frameworks that govern media and communication studies. It also familiarizes the
student both to the branches of communication (intra-personal, in –personal, and mass
communication as well as types of mass media (radio, television, print and web, film, the
internet). It is in this view that film art and practice is not only a mass media, but it is also a
communication channel to reach out a mass audience.
Course Objectives
The course aims at:
- Furnishing the student in the theoretical postulates for media and communication studies
- Familiarizing the student to the branches of communication as well as mass media
Learning Outcomes
The student will be able to:
- Prove his/her understanding in major media and communication theories, that are social
scientific
- Identify branches of communication as well as types of media
- Relate the state of media practices from the context of Ethiopia.


Mode Total
ery
Semes
Wise
V. Contents
a) Overview of film
b) Overview of television
c) Overview of radio
d) Mass communication theories
e) Mass communications law
f) Audience research
g) Emergent electronic communications
h) Mass media and ethics
i) Development of print journalism
j) Book publishing and industry
k) Careers in mass media
Quiz………………………………………………………………………10
Research paper……………………………………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30

Bal, Mieke (2003) Visual Essentialism, Journal of Visual Culture2 (1): 5-32.
Batchen, Geoffrey (1997) Burning with Desire: The Conception of Photography. Cambridge,
MA: MIT Press.
Becker, Karin (1992/2003) Photojournalism and the Tabloid Press. In Wells, Liz (ed.) The
Photography Reader. London:Routledge, 291-308.
Becker, Karin (1998) Bilden i den visuella kulturen/ The Image and Visual Culture. In Carl
Heideken (ed.)
Xposeptember Stockholm Fotofestival 1998. Stockholm: Xposeptember, 17-40.
Becker, Karin (2000) The Changing Picture of/on the Newspaper Page. In Becker, Karin;
Ekecrantz, Jan &
Olsson, Tom (eds.) (2000). Picturing Politics. Visual and Textual Formations of Modernity in the
Swedish Press. Stockholm: Stockholm Univeristy, JMK Skriftserien 2000:1.
Becker, Karin (2002) Fotografier: Lagrade bildminnen. In Becker, Karin; Bjurström, Erling;
Fornäs, Johan &
Ganetz, Hillevi:Medier och människor i konsumtionsrummet. Nora: Nya Doxa.
Becker, Karin, Ekecrantz, Jan & Olsson, Tom (eds.) (2000) Picturing Politics. Visual and
Textual Formations of Modernity in the Swedish Press. Stockholm: Stockholm Univeristy, JMK
Skriftserien 2000:1.
Bennett, Tony (1995) The Birth of the Museum. History, Theory, Politics. London: Routledge.
Bjurström, Erling; Fornäs, Johan & Ganetz, Hillevi (2000) Det kommunikativa handlandet.Nora:
Nya Doxa.
Crary, Jonathan. (1990) Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century.Cambridge, MA: MIT Press.
Foster, Hall (ed.) (1988)Vision and Visuality. Seattle: Dia Art Foundation.

Foucault, Michel (1970) The Order of Things. An Archeology of the Human Sciences.New
York: Random House.
Foucault, Michel (1972) The Archeology of Knowledge. Trans. A.M. Sheridan Smith. London:
Tavistock.
Foucault, Michel (1977) Discpline and Punish: The Birth of the Prison. Trans. Alan Sheridan.
New York: Vintage Books.
Friedberg, Anne (1993) Window Shopping: Cinema and the Postmodern. Berkeley: University
of California Press.
Hartley, John (1992) The Politics of Pictures. London: Routledge.
Jay, Martin (1988) Scopic Regimes of Modernity, in Foster (ed.)Vision and Visuality. Seattle:
Dia Art Foundation.
Jay, Martin (1993) Downcast Eyes: The Denigration of Vision in Twentieth Century French
Thought.Berkeley and Los Angeles: University of California Press.
Kirshenblatt-Gimblett, Barbara (1998) Destination Culture. Tourism, Museums, and Heritage.

Berkeley: University of California Press.
Lister, Martin (ed.) (1995) The Photographic Image in Digital Culture. London: Routledge.
Mitchell, W.J.T. (1994) Picture Theory. Chicago: University of Chicago Press.
Rogoff, Irit (1998) Studying Visual Culture. In Nicholas Mirzoeff (ed.) The Visual Culture
Reader. London: Routledge.
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Screen Acting

Email___________
I. Course Description:
This'course'introduces'the'fundamental'techniques'used'by'actors'to'create'
emotionally'engaged'and'narratively'effective'performances'for'film,'video,'and'
digital'media.''It'covers'the'core'concepts'of'the'Stanislavski'System'of'Acting,'the'
application'of'further'developments'of'the'System'by'later'teachers'and'
practitioners'working'specifically'within'the'context'of'television'and'film,'the'
technical'demands'of'the'actor/camera'relationship,'the'physical'skills'necessary'
for'the'actor'to'effectively'communicate'narrative'information'within'an'overall'
pictorial'composition,'and'the'ways'in'which'the'actors’'creative'choices'can'impact'
the'editorial'process,'the'final'assembly'of'the'completed'motion'picture'and,'
ultimately,'the'production'of'meaning.'
Course Objectives:
I n'this'course,'students'will:'
-Develop'skills'in'the'analysis'and'interpretation'of'dramatic'texts.'
-Begin'to'develop'the'skills'necessary'to'create'effective'performances'for'the'
camera.'

- Become'familiar'with'common'technical'terms'used'to'describe'the'
filmmaking'process'and'its'various'contributors.'
-Gain'an'understanding'of'the'role'screen'actors'play'in'the'production'of'
meaning'through'the'conscious'application'of'specific'techniques'of'
signification
Learning Outcomes:
.
at the end of this course students able to :
-perform for camera
-differentiate the stage and screen acting
-can perform for multi-genres in film

Mode Total
ery
Semes
Wise
V. Content
Chapter 1: Film and Stage: Two Sides of the Same Coin
Chapter 2: The Development of Film Styles
Chapter4: Acting Defined
Stanislavsky System: Core Concepts
Chapter 5:'Listening'and'Sensing

Chapter 6:'The'Character
Chapter'7 : Preparation
Chapter 8 : Facts and Conditions
Chapter 9: Imagination
Chapter 10 : Learn the Role/Not the Lines
Chapter 11 :'Focus and Concentration
Chapter 12: Energy
Chapter 13 : Then Emotions
Chapter'14:'Spontaneity Scene
Analysis due On Camera Performance Due'
Chapter 15: Rhythm and Change
Dynamics, Movement
Chapter 16: The Need
Selectivity, Personalization
Chapter 17 : Day One on Set
Camera Performance, Shooting a Scene , Selected Scenes from On Camera
Performance
Quiz………………………………………………………………………10
Method acting ………………………………15
Acting for camera ………………………………………………….. 10
Imagination, emotion and concentration
………….……………………………………………………….. 20
Rehearsal shots ………………………………………………... 15
Final exam ……………………………………………………………….. 30

Tony'Barr.'Acting'for'the'Camera:'Revised'Edition'(New'York:'Perennial'Library,'
1997) Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Fundamentals of Script Writing
Course code: FiTv 4121

Email___________
I. Course Description: 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.
Course Objectives:
This course aims to introduce cinematic techniques of script wittings in variety of formats for
electronic media.
Learning Outcomes:
Students will be able to:

1. Write basic scripts in a variety of formats for electronic media.
2. Demonstrate the basic concepts and techniques of modern script writing.
3. Demonstrate a sense of storytelling, particularly through cinematic techniques.

Mode Total
ery
Semes
Wise
V. Content
Chapter 1: Terminology, Concepts, Themes & Loglines
Chapter 2: Dramatic structure (3 acts / 4 acts)
Chapter 3: Beat Sheets, Treatments & Outlines
Chapter 4: Approaches to Developing Character and Dialogue
Chapter 5: Screenplay Format and Conflict
Chapter 6: Writing Scenes and Exposition
Chapter 7: Teleplay Structure - Sitcoms & Hour Dramas
Chapter 8: Rewriting
Chapter 9: Documentaries, Docu-dramas and Multi-media
Chapter 10: Subplots, Pitches, Troubleshooting, and Marketing
Quiz………………………………………………………………………10
Paper on theories ………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30

Barnouw, Eric Documentary – A History of The Non-fiction Film, 2nd revised edition, New
York: Oxford University Press 1993 (1974)
Bordwell, David & Thompson, Kristin Film Art. An Introduction, 7Th edition, Boston:
McGraw-Hill 2004 (1979)
Ellis, John ”What Does The Script Do?”, The Yearbook of English Studies, 1990:20
Elsaesser, Thomas & Buckland, Warren, Studying Contemporary American Film – A

Guide To Movie Analysis, London; Arnold 2002
Gibbs, John Mise-En-Scène – Film Style and Interpretation, London: Wallflower Press
2002
Maras, Steven, Screenwriting – History, Theory and Practice, London: Wallflower Press
(2009)
Nelmes, Jill, “Realism and Screenplay Dialogue”, in Analysing The Screenplay, ed. Jill
Nelmes, New York: Routledge (2011)
Pasolini, Piero Paolo, ”The Screenplay as a ”Structure That Wants To Be Another

Structure”
in Heretical Empiricism (original title: Empirismo Eretico), 2nd
English edition, ed. Louise K.
Barnett, translated by Ben Lawton & Louise K. Barnett, Washington DC: New Academia
Publishing 2005 (1972)
Price, Steven, The Screenplay – Authorship, Theory and Criticism, Hampshire: Palgrave

Macmillan (2010)
Internet
Reeves, Carson (pseudonym), “Screenwriter Interview: Jane Goldman”, from
http://scriptshadow.blogspot.se/2012/01/screenwriter-interview-jane-goldman.html (2012-
08-17)
Carson Reeves (pseudonym),”F. Scott Frazier (The Numbers Station) Interview”, from
http://scriptshadow.blogspot.se/2011/07/f-scott-frazier-numbers-station.html (2012-08-17)
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Communication Research Methods

Email___________
I. Course Description: This course, Communication Research Methods, deals with concepts,
meaning, elements of communication theory, research and its practical applications. Emphasis is
given to methods and technique of problem identification, tools of data collection, data analysis
and organization, preparing and writing research reports. Accordingly the science of identifying
research problem, formulating research objectives, conducting the research is discussed in this
material.
Course Objectives:
The course aims to let students know:

communication theory ,research and proposal mean
bjectives and types of research;
rmulate theatre art research problems and hypothesis
Learning Outcomes:
.
After completing this unit you should be able to
communication theory and research;

Formulate theatre art research problems and hypothesis

Mode Total
ery
Semes
Wise
V. Content
Unit 1: The Concept communication theory
1.2. Definition and Purposes of Research
• Foundation of Hypothesis
• Research Ethics
Unit 2: Classification of Research
2.1: Basic and Applied Research
2.2: Descriptive, Explanatory and Exploratory Research
2.3: Qualitative and Quantitative Research
Unit 3: Process in Research Proposal Development
3.1: What is the Research Proposal?

3.2: research designing and sampling methods
3.3: Components of Research Proposal
3.4: Citation
Unit 4: Process in Conducting Research
4. 1: The Research Processes
4.2: Writing a Scientific Report
4.3: Reporting Research Findings
4.4: Oral Presentation
Unit 5: BIBLIOGRAPHY;
• Test ------------------------------------------ 10%

• paper on communication theories -------------------------15%
• proposal writing-----------------------------------------------------15%
• Term paper------------------ 20%
• Final Exam ---------------------------------------------------------40%
Total ----------------------------------------100%
1. አለም እሸቱ፡፡ መሰረታዊ የምርምርና የዘገባ አፃፃፍ ፡፡ አዲስ አበባ (1997)

2. Abiy Zegeye ,Alemayehu Worku ,Daniel Tefera ,Melese Getu & Yilma Sileshi
Introduction to Research Methods (Preparatory module for Addis Ababa
University graduate programs)(2009)
3. Babbie, Earl (1973), Survey Research Methods, Belmont Wadsworth Publishing

Company, Inc.
4. __________ (1986), The Practice of Social Research. 4
th
ed. Belmont: Wadsworth
Publishing Co.
5. Best, w.Jhon and khan v.James Research in education. (2007)
6. Chara, s. Research methodology statistical method. (2007)
7. CR Kothari,Research methodology methods and techniques,(2004)
8. Gibaldi, Joseph and Walter S. Achter (1988), MLA Handbook for Writers of
Research Reports, 3rd Ed. New York: The Modern Language Association of America.
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Fundamentals of Directing

Email___________
I. Course Description: This course intends to provide the student with essentials of film
directing, that is to mean the language systems and/or techniques the film director employs to
visually narrate a story. In order to do this, the student will be exposed to the basic building
block of film art – which is a SHOT and its elements such as framing, image size, angle, camera
movement, and mise-en-scene, and the like. By way of ensuring a shot-to-shot relationship, the
course also aims at familiarizing the learner to editing techniques as modes of directing.
Course Objectives
It aims the following objectives:
- To furnish the student with the basic visual codes of the film maker.
- To equip the student with the ingredients of a shot
- To enable the student relate the dynamics of film editing to the principles/techniques of
directing
Learning Outcomes
The student will be able:
- To show his/her ability in understanding the major film grammars and their creative
application,
- To demonstrate his/her skill in writing a shooting script for film production
- To shoot and assemble 2 minute film.


Mode Total
ery
Semes
Wise
V. Contents
Chapter 1 INTRODUCTION TO FILM LANGUAGE AND GRAMMAR
Chapter 2 INTRODUCTIONS TO THE DRAMATIC ELEMENTS
EMBEDDED IN THE SCREENPLAY
Chapter 3 ORGANIZING ACTION IN A DRAMATIC SCENE
Chapter 4 STAGING
Chapter 5 THE CAMERA
Chapter 6 MARKING SHOOTING SCRIPTS WITH CAMERA SETUPS
Chapter 7 WORKING WITH ACTORS
Chapter 8 MANAGERIAL RESPONSIBILITIES OF THE DIRECTOR
Quiz………………………………………………………………………10
Research paper……………………………………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30
Aristotle, Aristotle’s Poetics, New York: Hill and Wang Publishing, 1961.
Bare, Richard L., The Film Director: A Practical Guide to Motion Picture and Television
Techniques, New York: Hungry Minds, Inc., 1973.

Baxter, John, Fellini, New York: St. Martins Press, 1994.
Clurman, Harold, On Directing, New York: Macmillan, 1972.
Cole, Toby, and Helen Krich Chinoy, Directors on Directing: A Source of the Modern
Theatre,
Englewood Cliffs, NJ: Pearson Allyn and Bacon, 1963.
Dmytryk, Edward, On Screen Directing, Burlington, MA: Focal Press, 1984.
Eisenstein, Sergei M., On the Composition of the Short Fiction Scenario, Portsmouth, NH:
Heinemann, 1989.
Kurosawa, Akira, Something Like an Autobiography, New York: Vintage, 1983.
Lucey, Paul, Story Sense: A Screenwriter’s Guide for Film and Television, New York:
McGraw-Hill,
1996.
Lumet, Sydney, Making Movies, New York: Vintage, 1996.
Rosenblum, Ralph, When the Shooting Stops: Inside a Motion Picture Cutting Room, New
York:The Viking Press, 1979.
Scharff, Stefan, The Elements of Cinema: Towards a Theory of Cinesthetic Impact, New
York:Columbia University Press, 1982.
Tolstoy, Leo, What Is Art?, New York: Penguin Classics, 1995.
Van Gogh, Vincent, Dear Theo: The Autobiography of Vincent Van Gogh, New York:
Plume, 1995.
Young, Jeff, Kazan, The Master Director Discusses His Films: Interviews with Elia Kazan,
New York: Newmarket Press, 1999.

Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Cinematography Theory

Email___________
I. Course Description: Students will be exposed with the compositional theories of

cinematography which is applicable through camera techniques. Course deals with aperture
settings, perspective, rule of thirds, framing, depth of field, camera movement, etc.
Course Objectives: To train students in the aesthetic, technical, and organizational aspects of
cinematography making them the most versatile and innovative cinematographers.
Learning Outcomes
After accomplishing the course students will be able to compose scenes in meaningful way by
using all visual elements, camera and lighting techniques.

Mode Total
ery
Semes
Wise

V. Contents
Unit 1: Definition of cinematography and basics
Unit 2: cameras
Unit 3: lighting
Unit 4: shots and what they mean
Unit 5: composition
Quiz……………………………………………………10
Term paper……………………………………………15
Shots ………………………………………………….. 10
Paper work and oral presentation…………………….. 20
Term paper……………………………………………... 15
Final exam ………………………………………………. 30
Training Resources: http://www.videomaker.com/training/
Videomaker Workshops: http://www.videomaker.com/events/workshop/
Videomaker Webinars: http://www.videomaker.com/events/webinar/
Videomaker Facebook: http://www.facebook.com/pages/Videomaker/39881894777
Videomaker Twitter: http://twitter.com/#!/videomaker
Videomaker YouTube: http://www.youtube.com/user/videomaker
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Art Direction for Television and Film

Email___________
I. Course Description: The role of the art director in producing multi-faceted design projects is
examined. A team environment enhances leadership, communication, and negotiation skills.
Emphasis is placed upon coordinating creative efforts from concept to finished product
Course Objectives:
Upon completion of this course students will be able to:

1- Break down a script and define the key design elements
2- Produce a schedule and budget a multi scene script .
3- Interpret the style of a script over multiple scenes.
4- Research the look and style of a film.
5- Design scenery that incorporates location and studio work.
6- Explore methods of presenting a design concept to the production team.
7- Design graphics and props for a film production.
Learning Outcomes:
.
Use a tape measure to accurately survey locations.
Draw a scale plan.
Draw a perspective sketch orbuild a computer model in sketchup or
build a scale model.
Be familiar with basic script formats and set construction techniques.
Know how to research visual information, both on the Web and through
physical research.

Mode Total
ery
Semes
Wise
V. Content
Chapter 1: Design Exterior Location additions. Plan & Elevation
Chapter 2: Design Int. Location additions (Design Fundamentals & Color Theory)
interior plan and Elevations; Post Production Effects, Sketch or model
of set of choice
Chapter 3: Survey Location and do Research, Location Plans with camera plot,
Finished Boards with graphics
Chapter 4: Prop and Graphic Design, Sketch or Model
Chapter 5: The Budget and Schedule, Present finished project including budget
and schedule
• Test ------------------------------------------ 10%

• paper -------------------------15%
• proposal writing-----------------------------------------------------15%
• practice ------------------ 20%
• Final Exam ---------------------------------------------------------40%
Total ----------------------------------------100%

Designer Drafting for the Entertainment World
Patricia Woodbridge
Focal Press, NYC
Excellent examples of design and drawing from many aspects of entertainment.
The Elements of Style: A Practical Encyclopedia of Interior Architectural Details
from 1485 to the Present
Stephen Calloway
Simon & Schuster, NY
Useful architectural details.
The Filmmaker's Guide to Production Design
Vincent LoBrutto
Allworth Press, NY
Decent and concise if old style view of mainstream design.
The Art Direction Handbook for Film
Michael Rizzo
Focal Press, NYC
Chatty and accurate overview of design today, much useful information.
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Writing short Film

Email___________
I. Course Description: This course is a writing intensive class that examines the elements
particular to screenwriting for short films via lectures, screenings, writing assignments and in-
class readings/critiques. Topics include the use three act structure, creating a character, act
design, and scene structure. Students will complete several small projects and an original 10-15
page screenplay by the end of the semester.
Course Objectives:
Students will significantly develop their critical thinking abilities as applied to the analysis of the
short film form and develop critical analysis skill in by examining short film scripts and
evaluating their production-worthy attributes. Students will further their own self-reflexive
analysis skills as applied to their own work.
Learning Outcomes:
At the end of this course students able to:

- understand ideas for short story
- know nature and technique of short film script
-write short film


Mode Total
ery
Semes
Wise
V. Content
Chapter 1: Introduction
(Structure, formula, formatting, cinematic conventions, tricks and techniques. Selected

screening)
Chapter 2: The World of the Short
(Introduction to the world of short form filmmaking, how shorts differ from features)
Chapter 3: Genre Considerations in Short Films
Chapter 4: Pitching; Experimental Short Writing treatment
Chapter 5: Write a treatment for your short screenplay
(Workshop Treatments, Workshop Screenplays,
Finish screenplays, Class Discussion and reading of final projects)
Story ………………………………………………………………………10
Treatment ………………………………15
First draft ………………………………………………….. 25
Final draft ……………………………………………………………….. 50
Final exam ……………………………………………………………….. 30

Alan Rosenthal, 2002, Writing, Directing, And Producing Documentary Films and Videos,
3rd Edition, published by Alan Rosenthal, united states of America.
Campbell, J. & Moyes, W., 1988, The Power of Myth, Doubleday
Greg M. Smith, 2003, Film structure and the emotion system, Cambridge University Press,
New York John Costello, 2004, Writing a Screenplay, Pocket Essentials,
Lisa Dethridge, 2003, Writing your Screenplay, published by Lisa Dethridge, Australia.
Marilyn Beker, 2004, Screenwriting With a Conscience Ethics for Screenwriters, Lawrence
Erlbaum Associates, Inc.
Pat Cooper and Ken Dancyger,2005, Writing The Short Film,3rdEdition Elsevier Focal
Press
Sawyer, K., ZigZag: 2013,The Surprising Path of Greater Creativity, Jossey- Bass
Vogler, C., 2007, The Writer’s Journey: Mythic Structure for Writers, 3rd Edition,
Michael Wiese Productions
Sandy Eiges, 2001, Hollywood Script Writnig:How to Birth Your Idea Into a Bankable
SCREENPLAY, by Sandy Eiges
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Directing short Film

Email___________
I. Course Description: Fundamentals of screen directing, which includes script breakdown,

scene blocking, communication with cast and crew, and the logistics of production.
Course Objectives:
Upon completion of this course students will be able to:

1. Develop a shooting script.
2. Break down the story and dialogue in a scene.
3. Pre-visualize the script for purposes of shot design and or style.
4. Understand set logistics and the role of the director in set management.
5. Communicate and work with actors and crew.
6. Block a scene with actors and for the camera.
7. Capture and covering a scene effectively.
8. Edit footage together effectively from an intended design.
9. Critically analyze approach, story, and style in terms of film directing.
Learning Outcomes:
.
Students able to:
-prepare shooting script
- Communicate and work with actors and crew.
-Block a scene with actors and for the camera.
- visualize the script for purposes of shot design and or style.
-know set logistics and the role of the director in set management.

Mode Total
ery
Semes
Wise
V. Content
Unit 1 introduction
Actors.
-assessment exercise.
Unit 2 Seeing with a Moviemaker’s Eye.
Visualization of scene.
Unit 3 ACTORS & DIRECTORS MEET

-character scenes.
Unit 4 Rehearsal.
-en-scene.
Production design.
Preparing a scene
Work on final acting and directing projects
SCREEN AND DISCUSS ALL PROJECTS.
• Shooting script ----------------------- 10%

• Casting -------------------------15%
• Rehearsal --------------------------15%
• Practice on set ------------------ 20%
• Final production -------------------40%
Total -------------------------------------100%

Patricia Woodbridge
Focal Press, NYC
Stephen Calloway
Vincent LoBrutto
Allworth Press, NY
Michael Rizzo
Focal Press, NYC
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Cinematography Practice I

Email___________
I. Course Description: Cinematography derives from the Greek root meaning “writing with
motion.”Tools (cameras) come and go. There is always a new flavor coming around the corner,
but the skill of interpreting a script, using lighting effectively, artful composition and intelligent
movement to create a visual style, mood and look is timeless. As with most endeavors, practice
is imperative for improving your cinematography skills. In this class you will act as a
cinematographer, controlling the mood and look of a scene at least once during the semester in a
studio shoot on a two-minute scene of your choosing. You will also assume the responsibility of
gaffer and camera operator on at least one shoot during the semester.
Course Objectives:
The education that each student receives will build the knowledge to be an
effective visual storyteller. You will learn the tools and the trade of a
cinematographer and implement them effectively on projects.
Learning Outcomes:
.
Students able to:
-work through 3 point lighting
-work through camera movement and character movement
-works in different color temprature

Mode Total
ery
Semes
Wise
V. Content
Section 1: script selection for 5 minute production
Section 2: shooting script
Section 3: crew formation and casting
Section 4: rehearsal
Section 5: shooting
Section 6: editing
Section 7: screening
• Shooting script ------------------------------------------ 10%

• Casting -------------------------15%
• Rehearsal -----------------------------------------------------15%
• Practice on set ------------------ 20%
• Final production ---------------------------------------------------------40%
Total ----------------------------------------100%


Patricia Woodbridge
Focal Press, NYC
Stephen Calloway
Vincent LoBrutto
Allworth Press, NY
Michael Rizzo
Focal Press, NYC
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Film Production Management

Email___________
I. Course Description: Film Production Management will introduce students to the theory and
practice of managing motion picture production. Topics covered will include budgeting, script
breakdown, scheduling, location scouting, and crew procurement, among others.
Course Objectives: this course is to expand each student’s critical and creative reading, writing,
and thinking skills in preparation for a productive career in the film industry. Students will gain a
heightened sense of creativity, the courage to question conventions, and an expanded toolbox for
higher-order reasoning
Learning Outcomes:
At the end of this course students should . . .

♦ Be able to take on a management role in a student project setting.
♦ Be able to breakdown a script in order to budget and schedule a motion picture.
♦ Be able to effectively scout for locations.
♦ Be able to manage the special needs of the Art Department.
♦ Be able to communicate professionally with crew in every department.
♦ Be able to work successfully as an office or set P.A

Mode Total
ery

Semes
Wise
V. Content
Section 1: Management Theory, Work Ethics, & Skills for Success
Section 2: The Division of Labor in Film Production
Section 3: The Script as Blueprint: Breakdown & Scheduling
Section 4: The Budget is the Film
Section 5: Development & Preproduction
Section 6: Location Scouting & Management
Section 7: Art Department
Section 8: Production Part 1: Office Management
Section 9: Production Part 2: Set Management
Section 10: Post-Production
Quiz………………………………………………………………………10
design pitch for the assigned short script………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Silent Film Production

Email___________
This course examines how silent films are conceived and crafted by developing an understanding
of the underlying principles of filmmaking. These principles will be explored through a series of
practical exercises based around the key creative components of filmmaking, leading up to the
production of a silent film of the student’s own devising.
Course Objectives:
To understand the basic principles of filmmaking

· To develop skills in the construction of a silent screenplay
· To develop skills in planning, shooting and editing a silent film
Learning Outcomes:
.
Students able to:
- think critically and analytically about film, narrative structure and the creative process
· learn about and practice key silent filmmaking techniques
· articulate their understanding of how the key elements of film are put together and how they
affect audience response
· understand the craft of filmmaking sufficiently to enable them to go forward and make their
own silent film projects


Mode Total
ery
Semes
Wise
V. Content
Part One The Principles of Film Language
Part Two Preliminary Exercises: Camera & Editing
Part Three Short Project (to be set by the tutor)
Part Four Story Structure and Storyboarding
Part Five Designing the Production
Part Six Major Project (to be devised by the student)
Story ---------------------------15
Script-----------------------------20
Storyboarding/ shooting script---------------------15
Final project--------------------------------50
Alexander MacKendrick - On Film Making Faber, 2004

Robert McKee - Story: Substance, Structure, Style and Principles of Screen Writing
Methuen, 1999
David Mametn - On Directing Penguin, 1992
If you are unable to obtain books locally, they may be ordered from
http://www.bookshop.blackwell.co.uk or www.amazon.co.uk

Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Editing Theory & Technique

Email___________
In this class, we will study terminology and concepts, learning both the rules and how to break
them, as we look at the aesthetics choices and the technological workflow for both picture and
sound editing. We will examine the historical role of editing, from the earliest silent film through
the digital revolution that has transformed movie making today.
Course Objectives:
-understand editing background

-knows various editing software
-exercise basic editing principles and techniques
Learning Outcomes:
.
Students able to:
- Know historical background and development of editing
- Know best and updated software
- Practice basic editing skills


Mode Total
ery
Semes
Wise
V. Content
1. Editing History, Introduction to editing softwares, Compressor
/ Transcoding / Final Cut Pro Editing
2- Editing Grammar –basic cuts and Continuity Editing
3- Five Types of Edits
4- Sound – Half the Story ( Dialogue, Sound Effects & Music)
5- Style – Cutting for Genre: Drama, Action & Suspense
6- Post Production Workflow – the new digital reality onscreen
Test : 20%
Editing exersise: 15%
Term paper : 15%
presentation : 20%
Final exam: 30%
Total 100%
Film Art: An Introduction

David Bordwell and Kristin Thompson
The Invisible Cut: How Editors Make Movie Magic
Bobbie O’Steen

Cut By Cut: Editing Your Film or Video
Gael Chandler
In the Blink of an Eye: A Perspective on Film Editing
Walter Murch
The History of Film Editing
Karel Reisz, Gavin Miller
On Film Editing
Edward Dmytrk
Film Editing: Great Cuts Every Filmmaker Should Know
Gael Chandler
First Cut: Conversations with Film Editors
Gabriella Oldham
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Writing for Documentary

Email___________
Most importantly, documentaries delve in to a non -fictional world with real events, real issues,
real conflict, real people and real emotions. Everything seen and heard on screen is grounded in
accuracy and has no element of fiction.
Course Objectives:
-identifies different between fiction and non fiction

-learn research based story writings
-learn format and elements of documentary script
Learning Outcomes:
.
Students able to:
- differentiate between documentary and feature films
- Write documentary film
- Understand format of documentary script as a genre


Mode Total
ery
Semes
Wise
V. Content
1. WRITING FOR FILM AND WHY DOCUMENTARIES ARE DIFFERENT
2- SHORT INTRODUCTION TO DOCUMENTARY STYLES
3- RESEARCH
4- ESSENTIAL SCRIPT ELEMENTS
5- PUTTING A SCRIPT TOGETHER
6- SCRIPT FORMAT
7- WRITING SCRIPT
Research : 20%
Presentation: 15%
Treatment : 15%
First draft : 20%
Final final: 30%
Total 100%
James Monaco. “How to read a film: Movies, Media, Multimedia”

Oxford University Press (2000) 3rd Edition. USA.
- Sheila Curran Bernard. “Documentary Storytelling for Video and Filmmakers”
Focal Press Publications (2004). USA

- Syd Field. “Screenplay: The Foundations of Screenwriting”
Dell Publishing (1994) 3rd Edition. USA
- Dwight V. Swain with Joye R. Swain. “Scriptwriting; A Practical Manual”
Focal Press Publications (1988). USA
- Robert McKee. “Story; Substance, Structure, Style and the Principles of
Screenwriting” Harper Collins Publishers (1997). USA.
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Sound Production for Film & TV

Email___________
I. Course Description: This course introduces the technology, equipment and skills necessary
for the acquisition of sound in film and video productions. In addition, the course will explore
the theory and role of sound design in both fiction and non-fiction productions. Particular
attention will be given to sound production and design as it relates to the films and videos that
the student will make in the program.
Course Objectives: The course is designed to provide students with the practical, industry-
related skills, operational practices and theoretical knowledge needed to establish an industry
career.This course helps students to develop esthetical and technical capacity to analyze sound
design of films with the different genres.
Learning Outcomes:
- Students will be able to identify different sound materials and exposed to location
recording techniques.
- Will be aware of the relationship between the visual and the aural and having a sense of
when a particular combination works.
Mode Total
ery
Semes
Wise

V. Contents
Chapter 1 Objective Sound
Properties of Physical Sound
Chapter 2 Psychoacoustics
Chapter 3 Audio Fundamentals
Chapter 4 Capturing Sound
Chapter 5 Microphone Technicalities
Chapter 6 Handling the Output of Microphones
Chapter 7 Production Sound Mixing
Chapter 8 Sync, Sank, Sunk
Chapter 9 Transfers
Chapter 10 Sound Design
Chapter 11 Editing
Chapter 12 Mixing
Chapter 13 From Print Masters to Exploitation
Quiz………………………………………………………………………10
Research paper……………………………………………………………15
Test (2)………….……………………………………………………….. 20
Sound record and mixing exercise…………………………………... 15
Final exam ……………………………………………………………….. 30
[1] Altman, Rick (1992): Sound Theory, Sound Practice,New York, Routledge
[2] Balazs, B. (1985). Theory of the film: Sound. In E. Weis & J. Belton (Eds.), Film sound:
Theory and practice. New York, Columbia University Press, S.182
[3] Chion, Michel (1994): AudioVision, New York, Columbia University Press

[4] Chueng, P. and Marsden, P. (2002): Designing auditory spaces to support the sense of
place: the role of expectation, in CSCW
[5] Flückiger, Barbara (2001): Sound Design. Die virtuelle Klangwelt des Films,Schüren
Presse, Marb
[6] Holman, Tomlison (2002): Sound for film and television, Focal Press of Butterworth-
Heinemann, Woburn
[7] Kenny, Tom (1999): Sound for Picture: The Art of Sound Design in Film and
Television, Hal Leonard Publ. Corp.
[8] LoBrutto, Vincent (1994): Sound-on-Film: Interviews with Creators of Film Sound,
Westport, CT, Praeger Publishers
[9] Storms, R. and Zyda, M. (2000), Interactions in perceived quality of auditory-visual

display, Presence, vol. 9, no. 6, S. 557–580
[10] Turner P, McGregor I, Turner S, and Carroll F. (2003): Evaluating soundscapes as a

means to create a sense of presence, in Proc. ICAD,
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Film Theory and Criticism

Email___________
I. Course Description: This Film Theory and Criticism course covers articulated theories and
approaches of film criticism in different periods and school of thoughts.
Course Objectives:
-to understand film theories

-to know philosophical views of films
-to understand approaches of film criticism
Learning Outcomes:
-students will have knowledge of film theories

-they will criticize films in different perspective
-they will get new insights in reading of films

Mode Total
ery
Semes
Wise

V. Content
Section 1: The state of film theory
Section 2: perception
Section 3: representation
Section 4: signification
Section 5: narrative structure
Section 6: adaptation
Section 7: valuation of genres and auteurs
Section 8: identification
Section 9: figuration and interpretation
Section 10: Approaches to criticism
(TRADITIONAL APPROACHES, FORMALISTIC APPROACH,
PSYCHOLOGICAL APPROACH, MYTHOLOGICAL-ARCHETYPAL
APPROACH, MYTHOLOGICAL-ARCHETYPAL APPROACH,
EXPONENTIAL APPROACH, SOCIOLOGICAL APPROACH,
GENERIC APPROACH)
Quiz………………………………………………………………………10
Paper on theories ………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30
Comolli,Jean-LouisandJeanNarboni."Cinema/Ideology/Criticism."Screen
13,no.1(1972):ReprintedinScreenReaderI,2-12.

Coward,RosalindandJohnEllis.LanguageandMaterialism.London:Routledge&KeganPaul,1
977.
Dworkin,MartinS."CriticismandIdeology:ANoteonIdeology."Journal
ofAestheticEducation11,no.4(1977):93-101.
Harvey,Sylvia.May1968andFilmCulture.London:BritishFilmInstitute,
Kristeva,Julia."TheSubjectinSignifyingPractice."Semiotextfe)1,no.3
Kuhn,Annette."Ideology,StructureandKnowledge."ScreenEducation,no..
Kuntzel,Thierry."TheTreatmentofIdeologyintheTextualAnalysisofFilm."
Lebel,Jean-Patrick.CinemaetIdeologic.Paris:EditionsSociales,1972.
Lovell,Terry.PicturesofReality:Aesthetics,Politics,andPleasure.London:
BritishFilmInstitute,1978.
Neale,Steven."Propaganda."Screen18,no.3(1977):9-40.
Nichols,Bill.IdeologyandtheImageintheCinemaandOtherMedia.
Bloomington:IndianaUniversityPress,1981.
Rosen,Philip."ScreenandtheMarxistProjectinFilmCriticism."Quarterly
ReviewofFilmStudies2,no.3(1977):273-87.
Wood,Robin."Ideology,Genre,Auteur."FilmComment13(Jan/Feb1977):
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Cinematography Practice II

Email___________
I. Course Description: Cinematography derives from the Greek root meaning “writing with
motion.”Tools (cameras) come and go. There is always a new flavor coming around the corner,
but the skill ofinterpreting a script, using lighting effectively, artful composition and intelligent
movement to create a visual style, mood and look is timeless. As with most endeavors, practice
is imperative for improving your cinematography skills. In this class you will act as a
cinematographer, controlling the mood and look of a scene at least once during the semester in a
studio shoot on a two-minute scene of your choosing. You will also assume the responsibility of
gaffer and camera operator on at least one shoot during the semester.
Course Objectives:
The education that each student receives will build the knowledge to be an
effective visual storyteller. You will learn the tools and the trade of a
cinematographer and implement them effectively on projects.
Learning Outcomes:
.
Students able to:
- work through 4 point lighting
-work through camera movement and character movement
-works in different color temperature
-work in various light intensity

Mode Total
ery
Semes
Wise
V. Content
Section 1: script selection for 10 minute production
Section 2: shooting script
Section 3: crew formation and casting
Section 4: rehearsal
Section 5: shooting
Section 6: editing
Section 7: screening
• Shooting script ------------------------------------------ 10%

• Casting -------------------------15%
• Rehearsal -----------------------------------------------------15%
• Practice on set ------------------ 20%
• Final production ---------------------------------------------------------40%
Total ----------------------------------------100%

Patricia Woodbridge

Focal Press, NYC
Stephen Calloway
Vincent LoBrutto
Allworth Press, NY
Michael Rizzo
Focal Press, NYC
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: African Cinema

Email___________
This course introduces students to the aesthetics of African cinema. The socio-political,
historical, economic and aesthetic backgrounds are given to the emergence of this cinema
as an alternative to Hollywood and auteur cinemas. The course underlines the aesthetics
that make this an alternative cinema. The fact that renowned literary figures like Sembene
Ousmane stand tall in the scenery of African cinema only emphasises the indelible
connection between literature and cinema: both use narrative as the organising principle
and mode of communication; and both draw from the rich African oral traditions. Effort
is made to compare the literary and cinematic aesthetics used in these narratives. This
introductory course spans from colonial cinema to the cinema of the Black Diaspora.
Most of the films that fall in this category are those that address issues of identity,
postcoloniality and decolonisation. Screening selected films is part of the course
requirement, and students are expected to write papers on various aspects to be decided
upon by the course director. The choice of films selected will depend on their availability

and accessibility
Course Objectives:
i) To introduces students to the aesthetics of African cinema

ii) To compare the literary and cinematic aesthetics in African cinema
iii) To trace the development of African cinema and analyse its characteristics
Learning Outcomes:
.
Students able to:
- know about aesthetics of African cinema
-compare literary and aesthetics of African cinema
-analyze African cinema

Mode Total
ery
Semes
Wise
V. Content
• Introducing African cinema
• What is this cinema?
• Colonial Cinema
• Educational Films Unit

• Colonial adventure: The Tarzan Series of films
• Expatriate Cinema
• Mister Johnson / Out of Africa / King Solomon’s Mine /
• Black African Cinema from 1960s: Third Cinema Aesthetics (theory and practice)
• Films of pre-colonial experiences: Yaaba / Tilai / Wend Kuuni
• Films of Colonial Experience: Camp de Thiaroye / Lumumba
• The struggle for Independence: Flame / Blue Eyes of Yonta / Sarraounia
• Post-Independence: Xala / Finye / Zamboko
• Neo-colonial capitalism: Guelwaar
The Mythic Tradition (Films of Search)
• Yeleen / Buud Yam / Harvest 3000
• Popular Culture Tradition
• La Vie Est Belle
• Other selections of popular films
• Trends in Regional Cinemas
• South African: Mapantsula
• Zimbabwean: More Time (or any other film)
• East African: (Kenyan or Uganda films to be selected)
• Nigerian or Ghanain (Several oprions)
• Cinemas of the Black Diaspora
• Sankofa or any other
• analyzing an African film ------------------------------------------ 10%

• article on African film -------------------------15%
• presentation -----------------------------------------------------15%
• test ------------------ 20%
• Final exam ---------------------------------------------------------40%

Total ----------------------------------------100%

1. Bakari, Imruh and Mbye Cham. 1996. African Experiences of Cinema. London:
British Film Institute.
2. Diawara, Manthia. 1992. African Cinema: Politics and Culture. Indiana: Indiana
University Press.
3. Dipio, Dominica. 2003. The Representation of Women and of the Changing Gender
Roles in African Film Narrative. Rome: Gregorian University.
4. Givanni, I. June ed. 2000. Symbolic Narrative. African Cinema. London: British Film
Institute.
5. Michael, T. Martin. 1995. Cinema’s of the Black Diaspora. Detroit: Wayne state
University.
6. Pines, Jim and Paul. 1998. Willeman eds. Questions of Third Cinema. London:
British Film Institute.
7. Ukadike, N. Frank. 1994. Black African Cinema. Berkeley: University of California
Press
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Media Law and Ethics

Email___________
Students will learn about their legal rights and obligations. The course will educate students on
how to publish information without violating defamation and invasion of privacy, how to gather
information to avoid legal and/or ethical trouble and how to deal with subpoenas. We will also
examine how to navigate the digital space of contemporary journalism and focusing on Fair Use,
and other laws, policies and best practices in the use of photographs, trademarks, film clips and
other copyrighted works. This is a rapidly changing and complex legal environment for
journalists, publicists and other creative entrepreneurs. This is not a course to prepare you to
practice law but how to see the fuzzy and the bright lines and when to call on legal help. Our
goal is to keep you and your employer out of trouble.
In addition, in an ever evolving fast and competitive digital space, the course also will explore
the temptations of sloppy and unethical practices, and the consequences of giving into those
temptations. We will explore the impact of the internet on the practice of journalism and other
creative fields and how new communications technologies are regulated today. Overall, this
course will aim to give students the essential legal framework of their rights and responsibilities
as journalists. Come prepared to think, discuss and participate.

Course Objectives:
- It allows student understanding of ethical and professional practice in media

- It will define legal terminologies
- It gives knowledge 0n legal issues impacting journalists.
Learning Outcomes:
.
Students able to:
-Recognize best contemporary ethical and professional practices in the digital space, as
dictated by legal standards.
U.S. law.
legal rights.
urces.

Mode Total
ery
Semes
Wise

V. Content
Unit 1
How journalists must “show their work” in a digital age and demonstrate intellectual
honesty to the public.
Unit 2
Defamation law
Unit 3
Truth and
Transparency in journalism
Unit 4
Invasion of Privacy and Right of Publicity
Unit 5
Access to Trials and Government Records, Reporter’s Privilege
Unit 6
Copyright, Work for Hire, Trademark and Fair Use
Unit 7
Regulation of Obscene and Indecent Material; Regulation of Advertising
Unit 8
Regulation of Broadcasting, Cable, Internet and Political Speech
Class Participation -----------------------------------10 percent

Quizzes on legal and ethical topics ------------------20 percent
Midterm Exam [closed book] -------------------25 percent
Final Exam (closed book) -----------------------25 percent
Paper: One written paper about a current
legal issue impacting journalists----------- 20 percent
Total 100%

Textbook: A Practical Guide to Media Law, Ashley Messenger (Pearson 2015).
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Documentary Production

Email___________
The course will explore the origins of documentary and documentary genres, providing
background and context for the production experience. During this time, the course will also
examine best practices on how to develop documentary story ideas, outlines, conduct research,
etc., within a transmedia environment. Students will then begin production of their documentary
projects, meeting regularly with the instructor and continuing to hone their theoretical, aesthetic
and business knowledge through further lectures, occasional guest speakers, screenings and
discussion groups.
Course Objectives:
-to help students develop an understanding of and appreciation for

the documentary genre.
- to lectures and screenings, students participate in discussion groups
and presentations, as well as produce an original, 10-15 minute documentary that includes a
transmedia plan.
Learning Outcomes:
.
Students able to:
- have developed basic competency in documentary pre-production, production and post-
production practices, acquired an introductory understanding of business and marketing
strategies, analyzed some documentary sub-genres and become familiar with key theoretical and
ethical issues associated with documentary.

Mode Total
ery
Semes
Wise
V. Content
Unit 1: What is a Documentary?
Documentary genres overview
Unit 2: From topic to story: developing a successful doc
Evolution of the Documentary
Unit 3: Developing the story
Loglines, Outlines and Pitches
Unit 4: Treatments and script formats
Unit 5: pitch presentations for 10-15 min. doc/critiques
Unit 6: Pre-production planning
Overview of camera and audio resources
Conducting documentary interviews and shooting sequences
Unit7: Production package: Includes treatment, script breakdown sheets, call sheets,
shot list, location approvals, permits, interview questions (where applicable)
Business of Docs: contracts, funding, marketing
Unit 8: Documentary Post production:

Music, effects, mixing, graphics
Unit 9: Groups share progress reports and screen samples of raw/edited footagee
Trans-media review
A project-by-project basis in edit suites
Screening of final projects and trans-media oral presentations
1. Deconstruct/presentation 10
2. 10-15 minute story:
Pitch/story outline and research 15
Pre-production package 15
Finished project 25
Peer evaluation 10
Subtotal: (65)
3. Transmedia presentation 15
4. Attendance/participation 10
Total:100 marks
Creative Documentary: Theory and Practice, Wilma De Jong, Pearson Publications, U.K. 2011
Collecting Visible Evidence, Jane M. Gaines & Michael Renov, University of Minnesota Press,
1999
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Film Adaptation

Email___________
This course examines the relationship between writing and cinema by focusing on film
adaptations of literary genres such as the novel, short story, nonfiction essay, and poem. We
will consider classic and contemporary theories of film adaptation as well as historical and
industry-specific issues to address our central question: “How can studying film adaptation allow
us to better understand what it is that literature does, and vice versa?”You’ll see that this is a
very contentious issue, so expect to read lots of different points of view about the value of
adaptations, to watch film adaptations outside of class, to engage in weekly blog discussions, and
to examine one selected adaptation for a final project. The course is designed as a seminar with
substantial weekly reading, a shared blog, and formal writing assignments.
Course Objectives:
with competing theories of film adaptation.
le to answer the following questions:

~ How did early film theorists define cinema as an art distinct from other arts?
~ How do theories of “how fiction works” relate to the cinema, and where do they fall short?
~ Why did the early film industry see literature as the “obvious” source for films?
~ What features are pointed to when calling adaptations “successful” or “unsuccessful”?
~ Why and how has the contemporary American film industry encouraged transgenre
adaptation, tie-ins, remakes, reboots, sequels, appropriations, etc?

Learning Outcomes:
.
Students able to:
-compete theories of film adaptation
- describe historical or industrial changes in cinematic adaptation.
-demonstrate a mastery of methods of research and documentation.
- do adaptation works

Mode Total
ery
Semes
Wise
V. Content
Unit 1: Introduction: The Theory and Practice of Adaptation
Unit 2: What Can Images Mean?
Unit 3: Who Is the Author of a Film?
Film And/As Literatur
Authors on Film
Unit 4: New Metaphors for Adaptation
What is Cinema?
Unit 5: Adaptation Studies (1980s to 1990s)
What Novels Can Do That Films Can’t (and Vice Versa)
Unit 6: Narrative

Unit7: Contemporary Debates (2000sto present)
Film Theory’s Two Traditions
Unit 8: Models of Adaptation
Unit 9: At a Crossroads
Twelve Fallacies in Contemporary Adaptation Theory
• test -------------------------15
.Term paper ...............15
• Adaptable novel/ short story/ music lyric/ poetry, theatre story scenario ..........10%
• first draft ................20%
. final draft …………40
Total 100%
The journal Literature Film Quarterly is available electronically via the Learning
Centre. Type in the title in the library catalogue, click 'search', then 'electronic
serial', then 'Link to full text etc.'
Aragay, Mireia, Books in Motion. Adaptation, Intertextuality, Authorship (Amsterdam
and New York: Rodopi, 2005)
Boozer, Jack (ed.), Authorship in Film Adaptation (University of Texas Press, 2008)
Boyum, J.G. Double Exposure: Fiction into Film, New American library, 1985.
Cardwell, S. Adaptation Revisited: Television and the Classic Novel, Manchester,
Manchester University Press, 2002.
Cartmell, D., Hunter, I.Q., Kaye, H. and Whelehan, I (Eds.), Pulping Fictions:
Consuming Culture across the Literature/Media Divide, London, Pluto Press, 1996.
Cartmell, D. and Whelehan, I. (Eds.) Adaptations: From the Text to Screen and
Screen to Text, London and New York, Routledge, 1999.
Chapman, S “What novels can do that films can‟t and vice versa”, Critical Inquiry,
Autumn, 1980, pages 121-140.
Cameron, I. (ed.) The Movie Book of Film Noir, Studio Vista, 1992.
Corrigan T., Film and Literature: a Comparative Approach, London: Prentice Hall
International, 1999.
Davidson, P. (Ed) Film and literature: Points of Intersection, Edwin Mellen Press,
1997.
Easthope, A. Literary into Cultural Studies, London, Routledge, 1991.

Eckert, B. W., Focus on Shakespearean Films, New Jersey, Prentis Hall, 1972
Elliott, K. Rethinking the Novel/Film Debate, Cambridge: Cambridge University Press,
2003.
Enser, A.G.S. Filmed Books and Plays: a list of books and plays from which films
have been made 1928-1974, revised edition Deutsch, 1975.
Geraghty, Christine, Now a Major Motion Picture (Rowman and Littlefield, Plymouth:
2008)
Giddings, R., Selby, K. and Wensley, C. (Eds.) Screening the Novel: the Theory and
Practice of Literary Dramatisation, London, Macmillan, 1990.
Gunelius, S. Harry Potter: The Story of a Global Business Phenomenon.
(Basingstoke: Palgrave Macmillan, 2008).
Hawkins, H. Classics and Trash, Harvester, 1990.
18
Heilman, Elizabeth E. Ed. Critical Perspectives on Harry Potter. (New York; London:
Routledge, 2009).
Humm, P. et al (Eds) Popular Fictions: Essays in Literature and History, Methuen,
1986.
Hutcheon L., A Theory of Adaptation, London: Routledge, 2006.
Landy, M., "Filmed Forster," in The Cambridge Guide to E. M. Forster, David
Bradshaw ed., Cambridge: Cambridge University Press, 2007, pp. 235-253.
Leitch, T, Film Adaptation and Its Discontents, Johns Hopkins University Press, 2007.
Long, E., The Films of Merchant Ivory, Harry N. Abrams, 1991
Lothe, J. Narration in Fiction and Film: an Introduction, Oxford, Oxford University
Press, 2000.
Mast, G. and Cohen, M (eds.) Film Theory and Criticism, Oxford, Oxford University
Press, 1985. See section four: Film, Theatre and Literature.
McFarlane, B. Novel to Film: An Introduction to the Theory of Adaptation, Oxford,
Clarendon Press, 1996.
McFarlane, B. „It wasn‟t like that in the book‟, Literature/Film Quarterly, vol. 28, no.
3, 2000, pp. 163-169.
Naremore, J. Film Adaptation, London, Athlone, 2000.
Perkins, V. Film as Film: Understanding and Judging Movies, London, Penguin, 1972.
Reynolds, P. (Ed) Novel Images: Literature in Performance, London, Routledge,
1993.
Sanders, J., Adaptation and Appropriation, London, Routledge, 2005
Sinyard, N. Filming Literature: the Art of Screen Adaptation, London and Sydney,
Croom Helm, 1986.
Robert Stam, Literature through Film: Realism, Magic and the Art of Adaptation
(Oxford: Blackwell, 2005)
Robert Stam and Alessandra Raengo (eds.), Literature and Film: a Guide to the

Theory and Practice of Film Adaptation (Oxford: Blackwell, 2005)
Wagner, G. The Novel and the Cinema, Tantivy Press, 1975.
Welsh, J. and Lev, P., The Literature/Film Reader: Issues of Adaptation (Scarecrow,
2007).
Whited, L. A. (Ed.) The Ivory Tower and Harry Potter: Perspectives on a Literary
Phenomenon. (Columbia : University of Missouri Press, 2002).
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Intermediate Editing

Email___________
This course is designed to apply theoretical and technical concepts of editing in practice by 5
minute production. Editing Software, Dialogue, sound, music, effects (both audio and video) are
expected in the content.
Course Objectives:
The course is designed to achieve:

-Practice the different editing techniques and style.
-operating and using of software
-picture and sound editing practice
Learning Outcomes:
.
Students able to:
- Work on different editing software
-can edit sound and picture
-can synchronize dialogue and other sound recordings


Mode Total
ery
Semes
Wise
V. Content
1. Demonstrations of different edit equipment and its facilities.
2. To set-up and operate edit equipment.
3. Edit on assemble mode; (silent -rush and with sound)
4. Edit on insert mode.
5. Laying and mixing of sound tracks.
6. Edit a dialogue exercise; (rough-cut and final cut)
7. To insert titles.
• color correction and effects ------------------------------------------ 10%

• sound editing -------------------------15%
• working on software -----------------------------------------------------15%
• Practice on set ------------------ 20%
• Final production 5 minute ---------------------------------------------------------40%
Total ----------------------------------------100%

Patricia Woodbridge
Focal Press, NYC
Stephen Calloway

Vincent LoBrutto
Allworth Press, NY
Michael Rizzo
Focal Press, NYC
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Ethiopian cinema

Email___________
I. Course Description: This course is designed to discuss Ethiopian cinema history from its
introduction till now. it classifies in different periods to discuss the thematic concern, script
aspect, directing, acting, cinematography wise and editing techniques and genres
Course Objectives:
-it introduces the coming of film in Ethiopia
-characteristics of Ethiopian cinema in different periods (regimes)
-it identifies technical and thematic concerns
Learning Outcomes:

-write articles on Ethiopian cinema
-analyze Ethiopian movies in various perspectives
-compare and contrast in periods

Mode Total
ery

Semes
Wise
V. Content
Chapter 1: introduction of film 1900-1933
Chapter 2: Italian occupation 1933- 41
Chapter 3: after withdrawal of Italian 1942-1974
Chapter 4: Durgue Regime 1974-1991
Chapter 5: after the coming EPRDF 1991
Chapter 6: after Ethiopian millennium
Essay ………………………………………………………………………25
Term paper ………………………………25
Oral presentation ………………………………………………….. 15
Final exam……………………………………………………………….. 35

Press
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name - Music video Production

Email___________
I. Course Description: The principles of music video production: aesthetics and technology;
introduction to the stages involved in producing a music video.
Course Objectives
It aims at the following objectives:
After completing this course, students will be able to produce a music video project
that will demonstrate an understanding of the creative process and artistic skills required
in producing a music video.
Learning Outcomes
- To show his/her ability in understanding the major techniques of music video production
and their creative application
- To demonstrate his/her skill in writing a shooting script, directing, editing and producing
for music video film production
- To produce and assemble music video
Mode Total
ery
Semes
Wise

V. Contents
Chaptyer 1 Creative approaches: lyric driven and/or artist driven;
MV team formation and song selection
Chapter 2 Generating great ideas: imitation, inspiration, and originality;
Brainstorming approaches, ideas, materials, and storyline
Chapter 3 Introduction to treatment and synopsis for MV; treatment and synopsis writing
Chapter 4 Introduction to pre‐production, cast, and crew for MV;
Pre‐production I: budgeting and scheduling
Chapter 5 Introduction to production protocol for MV;
Hands‐on practice with video camera; Pre‐production II: storyboarding
and casting
Chapter 6 Pre‐production III: location scouting and choreography
Chapter 7 Introduction to equipment and facilities for MV; Pre‐production IV:
renting equipment and facilities, and catering
Chapter 8 Introduction to editing and visual effects for MV; MV production I: shooting
Chapter 9 Introduction to relevant computer graphic and special effect software;
MV production II: shooting
Chapter 10 Progress report; Post‐production I: editing
Chapter 11 Final exam; Post‐production II: visual special effects
Quiz………………………………………………………………………10
Script preparation……………………………………………………………15
Shooting script ………………………………………………….. 10
Casting and choreography ………….…………………………………….. 20
Editing ………………………………………………... 15
Final production ……………………………………………………………….. 30

Gaskell, E. (2004). Make Your Own Music Video. CMP Books, Vernallis, C.
_________ (2004). Experiencing Music Video: Aesthetics and Cultural Context.
Columbia University Press
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Writing for Feature film

Email___________
I. Course Description: This course is a writing intensive class that examines the elements
particular to screenwriting for feature films via lectures, screenings, writing assignments and in-
class readings/critiques. Topics include the use three act structure, creating a character, act
design, and scene structure. Students will complete several small projects and an original full
length screenplay by the end of the semester.
Course Objectives:
Students will significantly develop their critical thinking abilities as applied to the analysis of the
feature film form and develop critical analysis skill in by examining short film scripts and
evaluating their production-worthy attributes. Students will further their own self-reflexive
analysis skills as applied to their own work.
Learning Outcomes:

- understand ideas for feature film
- know nature and technique of feature film script
-write feature film


Mode Total
ery
Semes
Wise
V. Content
Chapter 1: Introduction
( Structure, formula, formatting, cinematic conventions, tricks and techniques. Selected

screening)
Chapter 2: The World of the feature story
Chapter 3: Genre Considerations in feature Films
Chapter 4: Pitching
Chapter 5: Write a treatment for your feature screenplay
(Workshop Treatments, Workshop Screenplays, Workshop Screenplays,
Finish screenplays, Class Discussion and reading of final projects)
Story ………………………………………………………………………10
Treatment ………………………………15
First draft ………………………………………………….. 25
Final draft ……………………………………………………………….. 50

Press
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name Tv Studio production

Email___________
I. Course Description: This is a hands-on TV studio production course. Students work together
in a team as they are trained to operate a fully equipped professional digital TV studio and
control room. Students receive rigorous broadcast training in camera operation, microphone set-
up and audio engineering, lighting, floor directing, video switching, directing, and teleprompter
operation.
Course Objectives
It aims at the following objectives:
Apply proper camera framing for TV studio interviews.
1.Interpret a studio lighting plot and set lights in accordance with it.
2.Operate a studio camera and perform basic moves such as pan, tilt, zoom, truck and dolly.
3.Demonstrate basic microphone set-up and audio board operation.
4.Demonstrate operation of a video production switcher to perform transitions and keys
Learning Outcomes
Apply proper camera framing for TV studio interviews.
1. Interpret a studio lighting plot and set lights in accordance with it.
2. Operate a studio camera and perform basic moves such as pan, tilt, zoom, truck and dolly.
3. Demonstrate basic microphone set-up and audio board operation.
4. Demonstrate operation of a video production switcher to perform transitions and keys


Mode Total
ery
Semes
Wise
V. Contents
Chapter I Intro to Television Production
Overview of the television studio
The team approach
Four stages of production
Chapter II TV Studio Camera and Equipment
Characteristics of the television camera and its system
Camera mounting systems
Camera Lenses
Chapter III Camera Operations
Commands
Working the camera
Building the television space
Framing the shot
Camera composition
Chapter IV Television Lighting- Equipment and Operations
Objectives of TV studio lighting
Studio lighting instruments

Three point lighting
Special effects lighting
Planning the lighting
Common lighting situations, problems and tricks
Chapter v Television Audio
The nature of sound
Types of microphones
Microphones pickup patterns and frequency response
Microphone placements
Audio Control Console
Audio Equipment used in television
Chapter VI The video production switcher and special effects
Signal Flow within the switcher
Downstream keyer
Mix effects buses
Use of digital effects
Chapter VII Lab Content
Students will learn TV production hands-on during lab time. They will operate professional
studio cameras, lights, video switcher, teleprompter, and audio equipment. Students will rotate
from one crew position to another in order to get hands-on experience in each area of production.
Lab time is also used to develop skills in directing and producing.

Quiz………………………………………………………………………10
Script development……………………………………………………………15
Preparing studio ………………………………………………….. 10
Test (2)………….……………………………………………………….. 20
studio production exercise ………………………………………………... 15
Ron Whittaker, Ph.D.. Television Production: A Free, Interactive Course in Studio and Field
Production, ed. Online Textbook: http://www.cybercollege.com/tvp_ind.htm, 2015.
Other:
http://www.cybercollege.com/copyright.htm: No permission is necessary for any type of public ,

government, or nonprofit school to use these materials directly from the Internet. No permission
is necessary for a public, government, or nonprofit school to link directly to an index or any
complete page.
A.No printed text will be required. A free, online text has been adopted. It has been continually
updated since it began in 1996.
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Advanced Editing Technique

Email___________
This course is designed to apply theoretical and technical concepts of editing in practice by 10
minute. Editing Software, Dialogue, sound, music, effects (both audio and video) are expected in
the content. Various types of editing will also implemented.
Course Objectives:
The course is designed to achieve:

-Practice the different editing techniques and style.
-operating and using of software
-picture and sound editing practice
Learning Outcomes:
.
Students able to:
- Work on different editing software
-can edit sound and picture
-can synchronize dialogue and other sound recordings


Mode Total
ery
Semes
Wise
V. Content
1. Demonstrations of different edit equipment and its facilities.
2. To set-up and operate edit equipment.
3. Edit on assemble mode; (silent -rush and with sound)
4. Edit on insert mode.
5. Laying and mixing of sound tracks.
6. Edit a dialogue exercise; (rough-cut and final cut)
7. To insert titles and credit captions
• color correction and effects ------------------------------------------ 10%

• sound editing -------------------------15%
• working on software -----------------------------------------------------15%
• Practice on set ------------------ 20%
• Final production 1o minute ---------------------------------------------------------40%
Total ----------------------------------------100%

Patricia Woodbridge
Focal Press, NYC
Stephen Calloway

Vincent LoBrutto
Allworth Press, NY
Michael Rizzo
Focal Press, NYC
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name - Film Analysis

Email___________
I. Course Description: This course aims to open a new perception on the participants` mind and
redefining cinema as an aesthetic communication medium which can be analyzed on many levels
just as any art form. Throughout the semester students will have chance to watch many films
which will be the subject of discussions on class and they will get the chance to develop a
diverse sense of examining what they see and hear on the screen, to gain an awareness towards a
film`s means of narration and grammar and to express their thoughts on the class and on their
papers.
Course Objectives
-preparing students for critical thinking when they watch films from different perspective
-creating exposure for different genres and periods of films
-psychoanalysis and other way of film analysis will be covered in topics
Learning Outcomes
- To show his/her ability in critical understanding of films to analyze them
- To demonstrate his/her skill in writing articles from different techniques and elements of
films
- To do psycho analysis of African and Ethiopian films

Mode Total
ery
Semes
Wise
V. Contents
Chapter 1: Introduction to Film Analysis
Chapter 2 : Cinematography (Camera, Movement, Placement, Lighting, Framing.
How do these elements affect the way we understand the film and set the
mood of the film?)Brainstorming approaches, ideas, materials, and storyline
Chapter 3: Mise-en-scene (Reading the signs through space, art direction, acting,
costume, hair and makeup. What`s inside the frame? )
Chapter 4 Editing (Creating meaning through editing, different styles)
Chapter 5 Sound (Discovering usage of sound and music on film)
Chapter 6 Reality on Film (Individuals` relationship with reality)
Chapter 7 Memory (The process of remembering and storytelling in relation with
time and space)
Chapter 8 The Other on Film ( Racial and gender issues, the fear of other and unknown)
Chapter 9 Science- fiction (Future as representation of present and past, depiction of
alternative futures, dystopian worlds in cinema)
Chapter 10 Experimental Film (Avant- garde cinema, challenging perception, exploring
the process of filmmaking)
Chapter 11 psychoanalysis of film

Quiz………………………………………………………………………10
Article ……………………………………………………………15
Paper on different issues ………………………………………………….. 10
Psycho analysis ………….…………………………………….. 20
Presentation ………………………………………………... 15
Bordwell, David and Kristin Thompson. Film Art: An Introduction. Boston : McGraw-Hill,
c2004.
Bordwell, David. Narration in the Fiction Film. London: Routledge, 1995.
Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film
Style & Mode of Production to 1960. New York, NY: Columbia University Press, 1985.
Giannetti, Louis. Understanding Movies. Upper Saddle River, NJ: Prentice Hall, 1996.
Monaco, James. How To Read a Film. New York, NY: Oxford University Press, 2000
Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: 3D Digital animation Techniques

Email___________
This course is designed to instill an understanding of 3D animation techniques from

modeling to rendering including modeling techniques, lighting, texturing and animating.
During the course of the semester, students will be assigned various weekly projects that
must be submitted prior to the assigned due date to receive a grade. For the final project,
each student will create a short animated film, 30-60 seconds in length, through which they
will learn the production process of animation including writing a treatment,
storyboarding, and timing through animatic and final rendered animations.
Course Objectives:
1. Understand the general work-flow for creating 3D assets for film or game.
2. Understand image sequences and post production process of 3D animation.
3. Apply materials that control 3D surface appearance.
4. Create original objects, characters and environments.
5. Create/manage key frames for animation film.
Learning Outcomes:
.
Students able to:
- create 3D assets for film or game
- Create original objects, characters and environments.
- Create/manage key frames for animation film.

Mode Total
ery
Semes
Wise
V. Content
Unit 1
Introduction to 3D Animation
Unit 2
Basics of Maya
Further introduction to Maya GUI

izing object (Outline)
Unit 3
Basics of Maya Part II
Modeling in Maya
Unit 4
Unwrapping UVs
Materials and Texturing II
Photoshop
Unit 5
Materials and Texturing Setting up a render scene in Maya

Gather / Global Illumination
Unit 6
Lighting and Rendering
Motion Path in Maya
-Linear Deformers
Unit 7
Animation in Maya Part II
3D Bouncing Ball in Maya
uncing ball
Unit 8
Bouncing Ball Character Animation Part I
-rigged character overview
Character Walk Cycle(Legs)
Character Animation in Maya Part II

Unit 9
Characteristic Walk Cycle
Character Animation in Maya Part III
Character Animation in
Maya Part II
Lip Sync Animation
inal project
Camera Animation
Primitives in 3D ---------------------- 5
2 Primitive Landscape -------------- 5
3 Modeling with image plane ------- 10
4 Texturing and UV Part I -----------5
5 Lighting and Rendering ------------ 5
6 Character Walk Cycle Part I ------- 15
7 Lip Sync Animation ---------------15
8 FINAL PROJECTS --------------------30
Total 100%
Williams, Richard. The Animator's Survival Kit--Revised Edition: A Manual of Methods,

Principles and Formulas for Classical, Computer, Games, Stop Motion

and Internet. Faber & Faber, 2012.
Williams, Richard. The Animator’s Survival Kit App:
https://itunes.apple.com/us/app/the-animators-survival-kit/id627438690?mt=8
*UF Bookstore: http://www.bkstr.com/floridastore/home
6/CC
-monitor setup for software instruction (ONLINE students only)
-48 hours after the end of the each
of
class meetings on TUES and THURS
Mastering Autodesk Maya 2015 : Autodesk Official Press by Todd Palamar
ISBN-13: 978-1118862513 / ISBN-10: 1118862511 Edition: 1st
Also View in iTunes
https://itunes.apple.com/us/book/mastering-autodesk-maya-2015/id899976591?mt=11
ADDITIONAL RESOURCES AND SUPPLEMENTAL READINGS:
ISBN-13: 978-1118862841 / ISBN-10: 1118862848 Edition: 1st

Also View in iTunes
https://itunes.apple.com/us/book/introducing-autodesk-maya/id889935294?mt=11
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Sitcom production

Email___________
The course is designed to make a professional sitcom production that can challenge student’s
capacity. In this course 15-20 minute length sitcom production is expected . Among those
productions which are prepared by students, the best one should be exhibited for the campus
community. It may also get airtime coverage from TV which is facilitated by the department.
Course Objectives:
Generally, the objective of this course is to provide students with practical and industry relevant
skills as well as operational practice combined with theoretical knowledge of sitcom production
skills namely: acting, directing and writing and other technical, at the same time, practical skills.
Learning Outcomes:
.
Students able to:
Explain the general theories and practical of sitcom production.
• Develop necessary skills in directing, writing and acting for sitcom production.
• Know how to use sitcom production equipments.
• Develop fluency and analytical skills in sitcom making crafts


Mode Total
ery
Semes
Wise
V. Content
Section 1: Pre production
Section 2: Production
Section 3: Post production
VI. Mode of Assessment:
• Pre-production process.................30
• Production process...........30%
• Final production ................40%
Total 100%
Boordwell,David and Thompson,Kristin. 2010. Film History; An introduction, 3re edition,

Boston; MG Graw-hil.
Fairweather, R.(1998) Basic studio Directing , focal press.
Cleve,Bastian. 2005, Film production Management, focal press:
Hindman, J L Kirkman&E.Monk , TV acting: A manual for camera performance, New York:
hasting.
Lo brutto,Vincent ,2002.The filmmakers guide to production design, 3rd
edition, New York, Allworth press.
Mark Sawicki, 2007, Filming the Fantastic A Guide to Visual Effect Cinematography,
Published by Elsevier Inc.
Marilyn Fabe, 2004, Closely Watched Films An Introduction to the Art of Narrative Film
Technique, University of
California Press, London, England.

Millerson, G. (1999), TV production, focal press.
Rain, Road. 1993.American cinematography,7
th
edition,California.the ASC press Hoolwod.
Sarat, Austin…etal. 2005. Law on the screen, California university press.
Thompson, R. (1998), The Grammar of the Shot, focal press.
Vincent LoBrutto, 2002, The Filmmaker’s Guide to Production Design, Published by Allworth
Press, New York.
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Film Marketing: - Exhibition & Distribution

Email___________
The course discusses on a marketing plan for a new film in production, Understand basic
accounting principles in the film/video industry , a business plan involving fund raising for a
production company and distribution for exhibition.
Course Objectives:
1.1 Identify and define terminology associated with motion picture and television production
advertising, marketing and release.
1.2 Demonstrate proper use of applied terminology associated with motion picture and television
production advertising, marketing and releasing.
1.3 Demonstrate knowledge of motion picture marketing techniques.
1.4 Demonstrate knowledge and ability to write a motion picture news release.
1.5 Demonstrate knowledge and ability to construct MPAA style approved press releases.
2.1 Demonstrate Knowledge of basic motion picture and television business accounting
procedures.
3.1 Demonstrate knowledge of production company business plan development.
3.2 List, define and demonstrate knowledge of motion picture releasing and distribution
techniques.
3.3 Demonstrate knowledge and ability to construct MPAA style approved press releases

Learning Outcomes:
.
Students able to:
-write film business plan
-know strategies for film marketing
-know proper way of distribution and marketing stratagies
Mode Total
ery
Semes
Wise
V. Content
Unit 1
Personal & business goals
Unit 2
Distribution or Production Co Why, Who, What, When Where
Unit 3
Decide film projects including attachments & budgets
Unit 4
Definition of the industry

Write a production team job description (Find attorney, accountant, banker, office location)
Unit 5
Audience analysis exercise PBH exercise CD
Producers share analysis PBH exercise CD
Write a simple short company objective
Research distributors- Majors & Minors
Unit 6
Announcement of your film “in development” to put in the trades
A producer’s part of loan investment memorandum
Prepare press kit, sales sheets
Research specialty division of studios
Research independent and small distributors
Write a description about distribution process
Fill out a distribution agreement
Unit 7
Forecast revenue and expenses for your film
Project your film’s revenue
Write an income statement and cash flow statement
Project business plan complete
Quizzes/home work 10%

Class Participation 10%
Project 1 20%
Project 2 20%
Midterm Exam 20%
Final Exam 20%
Total 100%

The Producer’s Business Handbook by John J. Lee, Jr. 3rd Edition

Filmmakers and Financing by Louise Levison 6th Edition
Film and Video Budgets, 5th Edition by Deke Simon, Michael Wiese
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Film Festival Organization

Email___________
The course is designed to achieve students’ festival organization managing skills and film
screenings in various categories. Films focus on Ethiopian history, culture, tradition, and folklore
and ritual performances, African cinemas, documentaries, European masterpiece samples and
award winning films, children’s’, women’s and students’ works will be screened for one week.
Course Objectives:
-students will know how to organize film festival

-to prepare proposals for funders
-learn how to pass obstacles in festival organiztion
Learning Outcomes:
.
Students able to:
-organize film festival
-communicate with financial supporters
-prepare film fund and festival proposals
-manage event organization


Mode Total
ery
Semes
Wise
V. Content
Category I: Focus on Ethiopia (Ethiopian culture, History, Tradition, folklore) (7)
Category II: African cinema (5 films)
African film makers and African issue
Category III: European classics (masterpieces) (7)
Category IV: women’s world (short movies)
Films directed by women or its thematic concern should be females
Category V: Ethiopian documentaries (5)
Category VI: children’s and youth film (5)
Film directed by youth and children or themes of these ages
Category VII: Students film (10)
Screening of University of Gondar film students’ works
Proposal development------------------ 15%

Sponsorship searching and Finance processing------------- 15%
Call for films----------------------------------------------10
Promoting in different social media------------------------ 10%
Tickets, hotel reservation for guests ------------------------ 10%
Hall preparation and screening ----------------------20%

Final report of the festival ---------------------------- 20%
Total 100%
Merges, Menell & Lemley, Intellectual Property in the New Technological Age (5th
edition, Aspen 2010) (IPNTA).
· Merges, Menell & Lemley, Intellectual Property in the New Technological Age: 2011 Case and
Note Supplement (Aspen 2011) ( 2011 Supp).
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Principles of Advertising & Public Relations

Email___________
I. Course Description: “Principles of Advertising and Public Relations” introduces you to the
fields of advertising and public relations along with important concepts concerning effective
advertising and public relations practices. This course will provide you with a solid foundation
for understanding both disciplines, including historical development, issues and controversies,
best practices, job opportunities and components of successful advertising and public relations
campaigns. This course will help you build a foundation in understanding advertising and public
relations and provide a solid understanding of their relationship to each other, journalism,
marketing and business.
Course Objectives: By the end of the semester, you will be able to demonstrate the following
competencies:
(1) Determine whether a career in advertising or public relations is right for you.
(2) Examine the role and function of advertising and public relations in business, nonprofits and
government.
(3) Understand the basic components of advertising and public relations process that include
publics, research, planning, goals and objectives, strategies, messages, media, issues
management and tactics.
(4) Know the different areas of public relations work such as employee relations, media
relations, community relations, investor relations and member relations.
(5) Explore the foundations of advertising including advertising’s role in fueling brand
movements, the history and structure of the industry – including career opportunities – and how
people respond to advertising messages.
(6) Understand the fundamental processes in developing advertising that fuels brand movements,
including targeting, research and development of advertising objectives, and execution of those
objectives using creative and media strategy.
(7) Understand the transformation that has taken place in the advertising and communication
industry driven by digital and social technology and engagement.

Learning Outcomes:
At the end of this course students should . . .

● Understand and apply the principles and laws of freedom of speech and press for the country
in which the institution that invites ACEJMC is located, as well as receive instruction in and
understand the range of systems of freedom of
expression around the world, including the right to dissent, to monitor and criticize power, and to
assemble and petition for redress of grievances;
● Demonstrate an understanding of the history and role of professionals and institutions in
shaping communications;
● Demonstrate an understanding of the diversity of peoples and cultures and of the significance
and impact of mass communications in a global society;
● Understand concepts and apply theories in the use and presentation of images and information;
● demonstrate an understanding of professional ethical principles and work ethically in pursuit
of truth, accuracy, fairness and diversity;
● Think critically, creatively and independently;
● Conduct research and evaluate information by methods appropriate to the communications
professions in which they
work;
● Write correctly and clearly in forms and styles appropriate for the communications
professions, audiences and purposes they serve;
● critically evaluate their own work and that of others for accuracy and fairness, clarity,
appropriate style and grammatical correctness;
● Contribute to knowledge appropriate to the communications professions in which they work.
Mode Total
ery
Semes
Wise

V. Content
Section 1: What is public relations?
Section 2: Today’s Public Relations Profession
Section 3: Research & Campaign Planning
Section 4: Communication & Measurement
Section 5: Public Opinion & Persuasion
Section 6: Managing Competition & Conflict | Ethics & Law
Section 7: Mass Media & Reaching Diverse Audiences, The Internet & Social Media,
Global & Corporate Public Relations
Section 8: Government and Politics
Section 9: What is AD? Introducing Advertising and Promotion, Theorizing Advertising
Section 10: Advertising Agencies, Strategy and Creativity,
Promotional Media in the Digital Age, International Advertising,
Research in Advertising
Quiz………………………………………………………………………10
Design pitch for the assigned short script………………………………15
Test (2)………….……………………………………………………….. 20
Term paper ………………………………………………... 15
Final exam ……………………………………………………………….. 30
"Advertising and Promotion" by Chris Hackley and Rungpaka Amy Hackley, 3rd Edition
Wilcox, D. H., Cameron, G. T., Reber, B. H., & Shin, J. H. (2013). Think public relations .
Boston: Pearson. | ISBN:

Approval sheet
----------------------------- -----------------------
------------------- -------------------------

Course Name: Intellectual Property Rights

Email___________
This course is intended both for students who are interested in a general overview of intellectual
property and as a gateway to Boalt's Law and Technology program. The course begins with an
analysis of the competing policies underlying the intellectual property laws. It covers the basics
of patent, copyright, trademark, and trade secrets (and other state IP-related areas of) law, as well
as some of the salient controversies in intellectual property law, including patent protection for
software and business methods, the challenges to copyright law posed by filesharing technology,
the role and difficulties of protecting trademarks on the Internet, and the application of common
law doctrines to the Internet.
Course Objectives:
(a) Applying diverse areas of IP law

(b) Presenting elements of IP law
(c) gives insight for IP agreement
(d) Developing and presenting legally-robust arguments for and against term
Learning Outcomes:
.
Students able to:
(a) A detailed knowledge and understanding of the core elements of IP law;
(b) Knowledge and understanding of the wider legal framework for IP across a range of legal
disciplines, including property, contract, competition, tax and insolvency laws;
(c) Skills in the structuring and drafting of IP agreements;
(d) Skills in the interpretation of IP agreements and assessment of their legal effect;

(e) Knowledge and understanding of the terms of typical IP agreements across selected industry
sectors

Mode Total
ery
Semes
Wise
V. Content
Unit 1
Introduction and theories on IP law
Unit 2
PATENT LAW
Subject matter
Utility
Infringement Analysis: Claim Construction, Literal Infringement
Defenses
Remedies
Unit3
COPYRIGHT LAW

Originality
Fixation, formalities
Idea-expression
Government Works
Ownership
· Initial Ownership
· Work Made for Hir
Joint Works and Collective Works
Ownership
· Duration; Division, Transfer, and Termination of Transfers
Infringement
· Right to Copy and Limits
Indirect Infringement
Defenses: Fair Use
Unit 4
TRADEMARK LAW
Unit 5
State Law: Trade Secret, Contract, Misappropriation, Right of Publicity
Quizzes/home work 10%

Class Participation 10%
Project 1 20%
Project 2 20%
Midterm Exam 20%
Final Exam 20%
Total 100%

Merges, Menell & Lemley, Intellectual Property in the New Technological Age (5th
edition, Aspen 2010) (IPNTA).
· Merges, Menell & Lemley, Intellectual Property in the New Technological Age: 2011 Case and
Note Supplement (Aspen 2011) ( 2011 Supp).
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Feature film Production

Email___________
The course is designed to make a professional feature film production that can challenge
student’s capacity. In this course feature film production (full length) is expected. Among those
productions which are prepared by students, the best one should be exhibited in different
universities and Theatres. It may also get airtime coverage from TV/cinema which is facilitated
by the department.
Course Objectives:
Generally, the objective of this course is to provide students with practical and industry relevant
skills as well as operational practice combined with theoretical knowledge of feature film
production skills namely: acting, directing and writing and other technical skills.
Learning Outcomes:
.
Students able to:
Explain the general theories and practical of film production.
• Develop necessary skills in directing, writing and acting for full length production.
• Know how to use feature film production equipments.
• Develop fluency and analytical skills in feature film making crafts

Mode Total
ery
Semes
ter 364rs 36hrs 40hrs 30hrs 70hrs 30hrs 270
Wise
V. Content
Section 1: Pre production
Section 2: Production
Section 3: Post production
VI. Mode of Assessment:
• Pre-production process.................30
• Production process...........30%
• Final production ................40%
Total 100%
Boordwell,David and Thompson,Kristin. 2010. Film History; An introduction, 3re edition,

Boston; MG Graw-hil.
Fairweather, R.(1998) Basic studio Directing , focal press.
Cleve,Bastian. 2005, Film production Management, focal press:
Hindman, J L Kirkman&E.Monk , TV acting: A manual for camera performance, New York:
hasting.
Lo brutto,Vincent ,2002.The filmmakers guide to production design, 3rd
edition, New York, Allworth press.

Mark Sawicki, 2007, Filming the Fantastic A Guide to Visual Effect Cinematography,
Published by Elsevier Inc.
Marilyn Fabe, 2004, Closely Watched Films An Introduction to the Art of Narrative Film
Technique, University of
California Press, London, England.
Millerson, G. (1999), TV production, focal press.
Rain, Road. 1993.American cinematography,7
th
edition,California.the ASC press Hoolwod.
Sarat, Austin…etal. 2005. Law on the screen, California university press.
Thompson, R. (1998), The Grammar of the Shot, focal press.
Vincent LoBrutto, 2002, The Filmmaker’s Guide to Production Design, Published by Allworth
Press, New York.
Approval
----------------------------- -----------------------
------------------- -------------------------

Course Name: Graduation project

Email___________
I. Course Description: this course covers the application of acquired knowledge, skill and
attitude from major courses taken in four years.
Course Objectives:
-application of script writing techniques
-application of directing skills
-application of cinematography knowledge and skill
-application of editing skills
-application of theoretical and analytical frame works
Learning Outcomes:

-write script
-direct films
-work as cinematographer
-work as editor
-criticize local and international film

Mode Total
ery
Semes
Wise
V. Content
PART I: Project title selection and approval
PART II: Proposal development
PART III: progress report I
PART IV: progress report II
PART V: first draft or screening
Part VI: second draft or screening
Part VII: Final submission
Proposal development ……………………………………………10

Formats ………………………………10
Applied techniques ………………………………………………….. 20
Final work ……………………………………………………………….. 60

Press
Approval sheet
----------------------------- -----------------------
------------------- -------------------------


Film and Television Production Department

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Film and Television Production Department

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University of Gondar

College of Social Science and Humanities

Film and Television Production Department

Redesigned & Edited By:

(BA in Theatre Arts, MFA in Film Production)

August 2009 E.C

University of Gondar Film & Television Production Page 0

Misganaw Alemu (UOG)

Dawit Lakew (AAU)

Tesfu Temesgen (AAU)

Abrham Dires (UOG)

Asnakew Alemu (UOG)

Temesgen Asrat (UOG)

Zewdu Linger (UOG)

Mebratu Hailu (UOG)

Desalegne Hailu (Film practitioner)

Eskinder Hailu (Film Scholar)

Tadios Getachew (Film scholar)

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The drastic transformation of international developmental communication strategy has changed

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1. Program learning outcomes

1.1 General Learning outcomes:

1.2 Specific Learning outcomes:

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A graduate of Film and Television Department is expected to be able to:

 Write scripts for Film, TV and Documentary.

 Understand film production and TV disciplines

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4.3 Graduation Requirements

4.5 Quality Assurance

4.6 Method of Assessment and Evaluation Mechanisms

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Raw Mark Corresponding Corresponding Status Class

[75, 80) 3.5 B+ Very Good First class with

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5 Course code assignments

5.1 Mode of Delivery

 Audio visual studio for Film and TV

 Books, journals, articles, periodicals, proceedings,

 Laptop and new generation computers

 Resource center (Store)

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6.3 Budget resources

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No. Year II; Course EtCTS Year II; Course EtCTS

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No Year III Course EtCTS Year III Course EtCTS

3 Documentary FiTv 4313 5 Writing for FiTv 4323 10

4 Film Adaptation FiTv 4314 5 Tv Studio FiTv 4324 5

5 Intermediate FiTv 4315 5 Advanced FiTv 4325 5

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Course Name: History of World Cinema

Course code: FiTv4111

Instructor’s name __________

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Chapter I the beginning of world cinema

Chapter II German Expressionism (1920s)

Chapter III Soviet Montage (1920s)

Chapter IV Hollywood After the Coming of Sound

(Part I: The Introduction of Sound and the Classical Style)