Post Date: 28 Aug, 2019

Film Appreciation Course (05 days) at G H Raisoni Group of Institutes, Nagpur

Film and Television Institute of India (FTII) Pune under its Skilling India in Film & Television (SKIFT), in association with G H Raisoni University, Chhindwara (near Nagpur), announces Film Appreciation Course at G H Raisoni Group of Institutes campus, MIDC Hingna Road (Hari Ganga campus), Nagpur.

Following are the details in this regard;

(1)    Dates & Duration: 26th to 30th Sept. 2019 & 05 days inclusive of Saturday & Sunday

(2)    Timings: 10 am to 5 pm

(3)    No. of participants: 100 (Course will be conducted only if minimum strength of 70 is reached)

(4)    Age: Participants must be 18 years or above in age as on 01st Sept. 2019

(5)    Nationality: Indian

(6)    Venue: Shradha Park, B37/ 39, The Auditorium, 2nd floor, MIDC Hingna Rd., (Hari Ganga campus), Nagpur

(7)    Fees: Rs 3,600/- per participant inclusive of GST

(8)    Mode of Payment: Online (NEFT) OR through Demand Draft.

(9)    Name of Faculty Member (Course Director): Shri Sankalp Meshram, FTII Alumnus

(10)    Last date & time to apply: 21st Sept 2019 by 4 pm

(11)    How to apply: Participants can either apply ONLINE or OFFLINE.
(a)    Online: Transfer course fees of Rs 3,600/- through NEFT to G H Raisoni University, A/c No. 624205013500, IFSC: ICIC0006242, Bank: ICICI Bank, Ramdaspeth, Nagpur. Please note the NEFT Transaction id. Take a print-out of application form from FTII website ( or G H Raisoni University website (, fill-in all the details including NEFT Transaction id, NEFT Transaction Bank etc & sign the application form. Scan this application form & email it to at the earliest. Please note that no application form will be accepted without NEFT Transaction id, name of NEFT Transaction bank and signature as stated above.

(b)    Offline: Draw a Demand Draft of Rs 3,600/- in favour of “G H Raisoni University”. Take a print-out of application form from the FTII website ( or from G H Raisoni University website ( Fill in all the details, attach said Demand Draft and Speed Post/ Courier OR deliver it in person to;

                  Dr. Sophia Ansari,
                  G H Raisoni University,
                  Corporate office: Shradha House,
                  345, Kingsway,
                  Nagpur – 440 013
so as to reach on or before 21st Sept. 2019.
            On envelope of application at top left, write “Application for Film Appreciation Course”. Incomplete applications, applications without required Demand Draft/ online course fee, applications received after due date & time etc will be rejected.

(12)    Medium of Instructions: The medium of instruction would be English and Hindi. Participants are expected to have adequate knowledge of English and/ or Hindi as regards to reading, writing & speaking.

(13)    Selection Criteria: First – Come – First – Served basis. However, course will be conducted only if the minimum strength of 70 participants is reached.
All the selected candidates would be communicated by email. Once admission is offered, the same cannot be cancelled. Course fee of selected candidates will be non – refundable. Course fees of all non – selected candidates would be returned within 04 days.

(14)    Certificates: All participants would be given participation certificate on successful completion of the course. Minimum 90% attendance is mandatory.

(15)    Accommodation & other arrangements for outstation participants: Limited accommodation (on first come first served basis) on G H Raisoni Group of Institutes campus, MIDC Hingna Road, (Hari Ganga campus), Nagpur, on double/ triple sharing basis is available for outstation participants on additional lumpsum payment of Rs 2,100/- per participant for the entire course duration which will be inclusive of breakfast, lunch & dinner in the mess. Hostel accommodation will be available from 25th Sept. 2019 (4 pm) to 01st Oct 2019 (11 am).
Interested participants need to intimate the hostel requirement in the application form and also need to make additional payment in advance in cash at the Registration Desk at Venue at-least a day before commencement of the course.

(16)    Queries: For any queries email to or call 09923242654 (Prof. Sandeep Shahare, FTII Pune) preferably on weekdays between 10 am to 6 pm. Participants may also send message/ Whasapp on the same number. As regards to hostel facilities, status of application form etc, please call Dr. Sophia Ansari from G H Raisoni University, on 09657724055 preferably on weekdays between 10 am to 6 pm.

(17)    Course Contents:
(I)     Day 1 (morning session – 10 am to 1 pm) – Film History 1
(a)    Clips from Avengers Endgame, 2019
(b)    Clips from Ready Player One, 2018
(c)    How did Cinema reach this level of sophistication?
(d)    Let us take a look at this fantastic journey.
(e)    First Invention of film technology in the 1860’s
(f)     Clips from EDISON/LUMIERE FILMS
(g)    Basics of Film Technology.
(h)    Persistence of Vision
(i)     Perception of motion
(j)     Kinetoscope
(k)    Lumeroscope
(l)     Clips from EARLY SILENT CINEMA
(m)   Clips from George Melies
(n)    Tableaux Cinema.
(o)     Development of Film Syntax
(p)     Clips from Edwin Porter’s ‘A day in the life of an
(q)     American Fireman’
(r)      Further discovery of editing.
(s)     Clips from ‘A Great Train Robbery’ by Edwin Porter.
(t)      The creation of the grammar of shots.
(u)     Clips from “ A birth of a Nation” by D.W Griffith.
(v)      End of Session

(II)     Day 1 (afternoon session – 2 to 5 pm) – Film History 2
(a)     Early Silent European Cinema
(b)     Cinema and First World War
(c)      War Propaganda Films
(d)     The advent of SOUND in films
(e)     THE HOLLYWOOD MUSICALS 1930 – 1960
(f)      Clips from “ Singin in the Rain”
(g)     Impact of the talkies.
(h)     Clips from “His Girl Friday”
(i)      Cinema and Second World War
(j)      Clips from Triumph of the Will
(k)     Clips from War Footage of WW2
(l)      Impact of WW2 on Cinema
(m)   Italian Neo Realism
(n)    Clips From –
(i)      Rome Open City
(ii)     Bicycle Thieves
(iii)    French New Wave
(iv)    Clips From Breathless
(v)     New German Cinema
(o)     Clips From
(i)      Aguirre The wrath of God
(ii)     Indian Cinema
(p)    Clips From
(i)      Pather Panchali
(ii)     Meghe Dhaka Tara
(iii)    Mahanagar
(q)    Session Ends

(III)     Day 2 (morning session – 10 am to 1 pm) – Script Writing 1
(a)    Story Universe
(b)    Concept of Time
(c)    Concept of Space
(d)    Fabula
(e)    Syuzhet
(f)     Narrative
(g)    Story
(h)    Theme
(i)     Relationship Between Story and Theme
(j)     Plot
(k)    Subplot
(l)     Character
(m)   Mythotypes
(n)    Archetypes
(o)    Stereotypes
(p)    Movie Clips from
(i)     Sholay
(ii)    Titanic
(iii)    ET
(iv)    Jurassic Park 2
(v)     Avatar
(vi)    Ratatouille
(vii)   Stuart Little
(q)    Session Ends

(IV)    Day 2 (afternoon session – 2 to 5 pm) – Script Writing 2

(a)    Generating Cinematic Ideas
(b)    Step Outline to Screenplay
(c)    Visions and Revisions
(d)    Chronotopes
(e)    Points of Attack and Exit
(f)     Narrative Structure
(g)   Canonical Structure of Story
(h)   Creating Central Conflict in Cinema
(i)     Creating Dramatic Tension
(j)     Managing Dramatic Pitch
(k)    Denouement
(l)     Clips From
(i)     Terminator 2
(ii)     Matrix 1
(iii)    Eternal Sunshine of the Spotless Mind
(iv)    Memento
(v)     Fight Club
(vi)    Jurassic Park 2
(m)   Session Ends

(V)    Day 3 (morning session – 10 am to 1 pm) – Visual Literacy
(a)     Visual Articulation
(b)     Visual Abstraction
(c)     Problems of Visual Representation
(d)    Visual Symbolism
(e)    Visual Metaphors
(f)     Understanding and Interpreting Visuals
(g)    Looking at various Photographs and Paintings
(h)    Elements of Visual Design
(i)     Canvas
(j)      Line
(k)     Shape
(l)      Form
(m)   Color
(n)    Texture
(o)    Principles of Visual Composition
(p)    Unity
(q)    Harmony
(r)     Contrast
(s)    Tension
(t)     Balance
(u)    Motifs
(v)     Rhythm
(w)    Session Ends

(VI)  Day 3 (afternoon session – 2 to 5 pm) – Cinematography

(a)   Introduction to Cinematography
(b)   Lensing – Types of Lenses
(c)   Depth of Field
(d)   Depth of Focus
(e)   Aperture
(f)    Shutter Speed
(g)   Shutter Angle
(h)   Understanding Resolution
(i)    Understanding Sensor
(j)    ISO
(k)   Color Space
(l)    Types of Shots
(m)  Optical Movement
(n)   Physical Movement
(o)   Compositional Elements of a shot
(p)   Magnification
(q)   Angle
(r)    Perspective
(s)   Lighting
(t)    Basic 3 Point Lighting
(u)   Use of Shadows and Darkness
(v)    Analysis of Film Shots
(w)   Session Ends

(VII)    Day 4 (morning session – 10 am to 1 pm) – Basic elements of Editing
(a)    Understanding Juxtaposition
(b)    Time – Space Relationships
(c)    Space Cues Create Time
(d)    Retroactive Temporal Assumptions
(e)    Time Ellipsis
(f)     Time Eliding
(g)    Time Expansion
(h)    Time Free Juxtaposition
(i)      Mimetic Units
(j)      Diedetic Units
(k)     Mimeto – Diegetic Units
(l)      Three Unities of a Scene
(m)   Two Unities of a Sequence
(n)    The Singular Unity of a Montage
(o)    Objectives of Continuity Editing
(p)    Rules of Continuity Editing
(q)    How to break the Rules of Continuity Editing
(r)     Non Linear Editing Current Work Flows
(s)     Analysis of Editing with Examples
(t)      Clips From
(i)     12 Angry Men
(ii)     Lawrence of Arabia
(iii)    JFK
(iv)    Natural Born Killers
(v)     Good Fellas
(vi)    Ghayal
(vii)   Sholay
(u)    End of Session

(VIII)    Day 4 (afternoon session – 2 to 5 pm) – Basic elements of Sound Design

(a)    Digital Sync Sound Recording Techniques
(b)    Basic Work Flows
(c)    Track Laying
(d)    Track Analysis
(e)    Track Cleaning
(f)     ADR
(g)    Foley
(h)    Ambience
(i)     Music
(j)     Pre – Mixing
(k)    Final Mixing
(l)     Importance of Sound Design
(m)   Analysis of Sound Design with Examples
(n)    Clips from
(i)     The Pianist
(ii)    A Quiet Place
(iii)   The Arctic
(iv)   Three Colors – Blue
(v)    Apocalypse Now
(o)   Session Ends

(IX)     Day 5 (morning session – 10 am to 1 pm) – Basic elements of Mise – en - Scene

Introduction to Mise – en-Scene

Elements of Mise-en-Scene
(a)   Frame Size
(b)   Aspect Ratio
(c)   Visual Composition
(d)   Lensing
(e)   Field of Vision
(f)    Depth of Field
(g)   Camera Movements ( Types of Camera Movements)
(h)   Lighting
(i)    Set Design
(j)    Background Props
(k)   Foreground Props
(l)    Action Props
(m)  Practical Props
(n)   Costumes
(o)   Hair and Make up
(p)   Actor Placement
(q)   Proximity and Distance
(r)    Actors as part of Visual Composition
(s)   Actor Movements
(t)    Camera Movements with Actor Movements
(u)    Lighting and Actors
(v)    Shot Duration and Timing
(w)   Shot Transitions – Cut/Dissolve/fade/wipe
(x)    Use of Sound Design in Mise-en-Scene
(y)    Analysis of Mise En Scene
(z)    Clips from
(i)    The Last Emperor
(ii)    Eight and half
(iii)   La Avventura
(iv)   Three Colors Red
(v)    Ugetsu Monogatari
(vi)    Ran
– Session Ends

(X)     Day 5 (afternoon session – 2 to 5 pm) – Film Analysis & Film Appreciation
(a)    Screening of Clips and Analysis of Andhadhun
(b)    Screening of Clips and Analysis of Stree
(c)    Screening of Clips and Analysis of Tron
(d)    Screening of Clips and Analysis of Avatar
(e)    Screening of Clips and Analysis of Avengers
(f)     Endgame 2019
(g)    General Discussion
(h)    Session Ends

Above topics are indicative and may change as per requirement, etc