Dept. of Theatre & Media Studies

NATIONAL UNIVERSITY

Syllabus Theatre and Media Studies

Four-Year Honours Course Effective from the Session: 2015–2016

NATIONAL UNIVERSITY

Syllabus for Four Year Honours Course Subject: Theatre and Media Studies Session: 2015-2016 Paper Paper Title (1st year 1st Credits Paper Paper Title (1st year 2nd Semester) Credits Code Semester) Code 511001 History of the Emergence 3 511009 Colonial and Post-Colonial Bangla 3 Independent Bangladesh Theatre (Theory) (Theory) 511003 Introduction to Theatre 3 511010 Performance (Practical) 3 (Theory) 511005 Introduction to M 3 511011 Set and Light Design (Theory) 2 edia Studies (Theory) 511012 Set and Light Design (practical) 1

511013 Introduction of film history (Theory) 3 511006 Training the Body and Mind 3 511014 Speech, Music & Dance (Practical) (Practical) 3 511007 Classical European Theater 3 (Theory)

Paper Paper Title (2nd year 1st Credits Paper Paper Title (2nd year 2nd Semester) Credits Code Semester) Code 521001 English (Compulsory, Theory) 3 521011 Introduction to Photography (Theory) 3 521003 Indigenous Theatre of 3 521013 Scenography:Art Direction and Creative 1 Bangladesh (Theory) Design (Theory) 521014 Scenography: art Direction and Creative 2 Design (Practical) 521005 Classical Indian (Sankrit) Teatre 3 521015 Acting and Improvisation for Meadia 1 (Theory) (Theory) 521016 Acting and Improvisation for Meadia 2 (Practical) 521007 Basics of Communication 3 521017 Costume, Props, Mask and Make-up 1 (Theory) (Theory) 521018 Costume, Props, Mask and Make-up 2 (Practical) 521008 Acting and Improvisation 3 521019 Working with Light, Sound and image 1 (Speech, music & dance (Theory) practical) 521010 Indigenous theatre Performance 3 521020 Working with Light, Sound and image 2 (practical) (Practical)

Paper Paper Title (3rd year 1st Credits Paper Paper Title (3rd year 2nd Semester) Credits Code Semester) Code 531001 Ethnic Theatre (Theory) 3 531009 Cinematography and Editing (Theory) 1 531003 Modern Euro-American Theatre 3 531010 Cinematography and Editing 2 (Theory) (Practical) 531005 Acting Theories (Theory) 3 531011 Reporting and Anchoring (Theory) 1 531007 Digital Media (Theory) 3 531012 Reporting and Anchoring (Practical) 2 536608 Classical Indian (Sanskrit) Theatre 3 531013 Program Planning and Producing 2 (Practical) (Theory) 531014 Program Planning and Producing 1 (Practical) 531015 Aesthetics for Theatre and Media 3 (Theory) 531016 Theatre Performance and Media 3 (Practical)

Paper Paper Title (4th year 1st Semester) Credits Paper Paper Title (4th year 2nd Credits Code Code Semester)

541001 Basic of Creative Writing for Stage 1 541009 Spectator’s Response (Theory) 3 and Screen (Theory) 541002 Basic of Creative Writing for Stage 2 and Screen (Practical ) 541003 Applied Performance through Theater 1 541011 Radio Production and Content 1 and Media (Theory) Management (Theory) 541004 Applied Performance through Theater 2 541012 Radio Production and Content 2 and Media (Practical) Management (Practical) 546605 Introduction to New Media (Theory) 3 541013 Directing for TV and Film 1 (Theory) 541007 Directing Theories (Theory) 3 541014 Directing for TV and Film 2 (Practical) 541008 Play Direction (Theatre, Practical) 3 541015 Art Business and Management 3 (Theory) 541017 Dissertation on Theatre and Media 3 (Theory) 541018 Viva 3

Total Credits: 120

Dept. of Theatre & Media Studies

First Year : Examination-2016

st 1 Semester

Course Code : 511001 Credits : 3 Class Hours : 90 Course Title : History of the Emergence of Independent Bangladesh (Theory)

History of the Emergence of Independent Bangladesh

Introduction: Scope and description of the emergence of Independent Bangladesh.

Writing on this topic.

1. Description of the country and its people. a. Geographical features and their influence. b. Ethnic composition. c. Language. d. Cultural syncretism and religious tolerance. e. Distinctive identity of Bangladesh in the context of undivided Bangladesh.

2. Proposal for undivided sovereign Bengal and the partition of the Sub Continent, 1947. a. Rise of communalism under the colonial rule, Lahore Resolution 1940. b. The proposal of Suhrawardi and Sarat Bose for undivided Bengal : consequences c. The creation of Pakistan 1947 .

3. Pakistan: Structure of the state and disparity. a. Central and provincial structure. b. Influence of Military and Civil bureaucracy. C . Economic , social and cultural disparity

4. Language Movement and quest for Bengali identity a. Misrule by Muslim League and Struggle for democratic politics . b. The Language Movement: context and phases . c. United front of Haque – Vasani – Suhrawardi: election of 1954, consequences.

5. Military rule: the regimes of Ayub Khan and Yahia Khan (1958-1971) a. Definition of military rules and its characteristics.

b. Ayub Khan’s rise to power and characteristics of his rule (Political repression, Basic democracy, Islamisation) c. Fall of Ayub Khan and Yahia Khan’s rule (Abolition of one unit, universal suffrage, the Legal Framework Order)

6. Rise of nationalism and the Movement for self determination . a. Resistance against cultura l aggression and resurgence of Bengali culture. b. Sheikh Mujibur Rahman and the six point movement c. Reactions : Importance and significance d . The Agortola Case 1968.

7. The mass- upsurge of 1969 and 11 point movement: background,programme and significance.

8. Election of 1970 and the Declaration of Independence by Bangobondhu a. Election result and centres refusal to comply b. The non co-operation movement, the 7th March , Address , Operation Searchlight c. Declaration of Independence by Bangobondhu and his arrest

9. The war of Liberation 1971 a. Genocide, repression of women, refugees b. Formation of Bangladesh government and proclamation of Independence c. The spontaneous early resistance and subsequent organized resistance (Mukti Fouz, Mukti Bahini, guerillas and the frontal warfare ) d. Publicity Campaign in the war of Liberation (Shadhin Bangla Betar Kendra, the Campaigns abroad and formation of public opinion ) e. Contribution of students, women and the masses (Peoples war) f. The role of super powers and the Muslim states in the Liberation war. g. The Anti-liberation activities of the occupation army, the Peace Committee, Al-Badar, Al-Shams, Rajakars, pro Pakistan political parties and Pakistani Collaborators , killing of the intellectuals. h. Trial of Bangabondhu and reaction of the World Community. i. The contribution of India in the Liberation War j. Formation of joint command and the Victory k. The overall contribution of Bangabondhu in the Independence struggle.

10. The Bangabondhu Regime 1972-1975 a. Homecoming b. Making of the constitution c. Reconstruction of the war ravaged country d. The murder of Bangabondhu and his family and the ideological turn-around.

mnvqK MÖš’

1. bxnvi iÄb ivq, evOvjxi BwZnvm, †`Õ R cvewjwks, KjKvZv 1402 mvj| 2. mvjvn& DwÏb Avn‡g` I Ab¨vb¨ (m¤úvw`Z), evsjv‡`‡ki gyw³ msMÖv‡gi BwZnvm 1947-1971, AvMvgx cÖKvkbx, XvKv 2002|

3. wmivRyj Bmjvg (m¤úvw`Z), evsjv‡`‡ki BwZnvm 1704-1971, 3 LÛ, GwkqvwUK †mvmvBwU Ae evsjv‡`k, XvKv 1992| 4. W. nviæb-Ai-iwk`, evsjv‡`k: ivRbxwZ, miKvi I kvmbZvwš¿K Dbœqb 1757-2000, wbD GR cvewj‡KkÝ, XvKv 2001| 5. W. nviæb -Ai-iwk`, evOvwji ivóªwPš—v I ¯^vaxb evsjv‡`‡ki Af~¨`q, AvMvgx cÖKvkbx, XvKv 2003| 6. W. nviæb-Ai-iwk`, e½eÜzi Amgvß AvZ¥Rxebx cybcv©V, w` BDwbfvwm©wU †cÖm wjwg‡UW, XvKv 2013| 7. W. AvZdzj nvB wkejx I W.†gvt gvneyei ingvb, evsjv‡`‡ki mvsweavwbK BwZnvm 1773-1972, m~eY© cÖKvkb, XvKv 2013| 8. gybZvwmi gvgyb I RqšÍ Kzgvi ivq, evsjv‡`‡ki wmwfj mgvR cÖwZôvi msMÖvg, Aemi, XvKv 2006| 9. AvwZDi ingvb, Amn‡hvM Av‡›`vj‡bi w`b¸wj: gyw³hy‡×i cÖ¯‘wZ ce©, mvwnZ¨ cÖKvk, XvKv 1998| 10. W. †gvt gvneyei ingvb, evsjv‡`‡ki BwZnvm, 1905-47, Zvgªwjwc, XvKv 2011| 11. W. †gvt gvneyei ingvb, evsjv‡`‡ki BwZnvm, 1947-1971, mgq cÖKvkb, XvKv 2012| 12. ‰mq` Av‡bvqvi †nv‡mb, evsjv‡`‡ki ¯^vaxbZv hy‡× civkw³i f~wgKv, Wvbv cÖKvkbx, XvKv 1982| 13. Aveyj gvj Ave`yj gywnZ, evsjv‡`k: RvwZiv‡óªi D™¢e, mvwnZ¨ cÖKvk, XvKv 2000| 14. ‡kL gywReyi ingvb, Amgvß AvZ¥Rxebx, w` BDwbfvwm©wU †cÖm wjwg‡UW, XvKv 2012| 15. wmivR D`&`xb Avn‡g`, GKvË‡ii gyw³hy×: ¯^vaxb evsjv‡`‡ki Af~¨`q, BmjvwgK dvD‡Ûkb, XvKv 2011| 16. RqšÍ Kzgvi ivq, evsjv‡`‡ki ivR‰bwZK BwZnvm, myeY© cÖKvkb, XvKv 2010| 17. Harun-or-Roshid, The Foreshadowing of Bangladesh: Bengal Muslim League and Muslim Politics, 1906-1947, The University Press Limited, Dhaka 2012. 18. Rounaq Jahan, Pakistan: Failure in National Integration, The University Press Limited, Dhaka 1977. 19. Talukder Maniruzzaman, Radical Politics and the Emergence of Bangladesh, Mowla, Brothers, Dhaka 2003. 20. ‡gmevn Kvgvj I Ckvbx PµeZx©, bv‡Pv‡ji K…lK we‡`ªvn, mgKvjxb ivRbxwZ I Bjv wgÎ, DËiY, XvKv 2008| 21. ‡gmevn Kvgvj, Avmv` I EbmË‡ii MYAfy¨Ìvb, weeZ©b, XvKv 1986|

Course Code : 511003 Credits : 3 Class Hours : 90 Course Title : Introduction to Theatre (Theory)

Course Objectives: This course explores the concepts and ways to understand theatre emphasizing the fundamental elements as space, script, scenography, acting and the relationship with audience. The practical portion of this course engages students in spontaneous creative explorations through improvisation.key readings:

Viola Spolin, Improvisation for the Theatre

Viola Spolin, Theatre Games for Rehearsal: A Director’s Handbook

Keith Johnstone, Impro: Improvisation for the Theatre

Clive Barker, Theatre Games, Drama Books Specialist,1978. Brockett Oscar. The Theatre: An Introduction ( Part 2, Chapter 4). New York: Holt kenneth Pickering, Key concepts in Drama and performance (Palgrame,2005 Ave`yjøvn Avj gvgyb, Awfbq, (mvwnZ¨ cÖKvk, 1991) Fv¯^I e‡›`¨vcva¨vq, AwfÁvb bvU¨K_v (mvwnZ¨ cÖKvk,2015)

Course Code : 511005 Credits : 3 Class Hours : 90 Course Title : Introduction to Media Studies (Theory)

Course Objectives: This Course is designed to provide students critical aspects in media studies. It studies television, film, books, radio, photography, print, digital and electronic media and means of communication. key readings:

Wasko, J. ed. (2005). A Companion to Television. MA, US: Blackwell Kolker, R. (1999). Film From and Culture. Boston : McGraw-Hill

Hill, J, and Pamela c. Gibson. ed. (1998). The Oxford Guide to Film Studies. Oxford : Oxford University Press

Course Code : 511006 Credits : 3 Class Hours : 90 Course Title : Training the Body and Mind (practical)

Course Objectives: It is a practical course divided into two parts. First half of this course prepares an actor’s body and mind. It includes training in dance, yoga, music and speech. The second half of this course uses theatre games to stimulate students for improvisations. key readings:

Viola Spolin, Improvisation for the Theatre

Viola Spolin, Theatre Games for Rehearsal: A Director’s Handbook

Keith Johnstone, Impro: Improvisation for the Theatre Rudolf Laban, The Mastery of Movement

F. Matthias Alexander, The Alexander Technique

Kristen Linklater, Freeing the Natural Voice

Boal Augusto : Games for actors and Non-actors (London : Routledge, 1992). Stanislavski, Constantin. An Actor Propares (London : 1980)

Cicely Berry, Voice and the Actor cicely Berry, Your Voice (Harrap, London 1975)

Sonia Moore, Traiming and Actor (Pengnin Booker, 1968)

Toby cole and Helen kich chinoy Actor on Acting (Croor Publishes, NY, 1954) MvqÎx P‡U&ªvcva¨vq, fviZxq b„Z¨Kjv, (KjKvZv, 1935)

Ab&Rb `vk¸ß, Awfbq wkí : gb I m„Rb †Mvjvc `vk¸ß)

Ab&Rb `vk¸ß, Awfbq wkí : †`‡ni fvlv (‡Mvjvc `vk¸ß)

Ab&Rb `vk¸ß, Awfbq wkí : msjvc I KÚ¯Î (‡Mvjvc `vk¸ß) fv¯î e‡›`¨vcva¨vq, bvU¨ ; ¯Î I msjvc (‡mvmvBwU di GWz‡Kkb Bb w_‡qUvi, 1999) eªRmy›ì `vm (Aby),Awf‡bZvi PwiÎ wbgv©Y (RvZxq mvwnZ¨ cwil`)

Course Code : 511007 Credits : 3 Class Hours : 90 Course Title : Classical European Theatre (Theory)

Course Objectives: This course draws a broader horizon to study Greco-Roman, Elizabethan and Neo-Classic Theatre in order to understand the characteristics, trends, methods and approaches to drama and theatre. It focuses on plays by Sophocles, Aristophanes, Shakespeare, Racine and Moliere.

Key Readings:

Aristotle, Aristotle’s Theory of Poetry and Fine Art. Critical Text and T.B.L

Webster Greek Theatre Production. 2nd ed. London: Methuen & Co. Ltd 1970. Brockett Oscar. The Theatre: An Introduction ( Part 2, Chapter 4). New York: Holt Rinehart and Winston 1974 Leacroft, Richard and Helen. Theatre and Playhouse. Nicoll, Allardyce. The Theory of Drama Reved. London : Harrap & Co. Ltd., 1933. wmivRyj Bmjvg ‡P․ayix (Ab~w`Z I m¤úvw`Z) G¨vwi÷U‡ji Kve¨ZË¡ (evsjv GKv‡Wgx : XvKv 1982)

W. MxZv †mb¸ß, wek^i½vjq I bvUK|

Wkwki Kzgvi `vk, Kve¨ZË¡ G¨wi÷U‡ji †cv‡qwUK&ª I mvwnZ¨Ë¡|

Wt mvab Kzgvi fÆvPvh©, G¨wi÷UGji †cv‡qwUK&ª I mvwnZ¨ZË¡ | wRqv nvq`vi, w_‡qUv‡ii K_v, cÖ_g L-|

Wt AwRZ Kzgvi †Nvl, bvU¨ZË¡ I bvU¨gÂ|

Ab&Rb `vk¸ß, ¯§ibxq wek^bvU¨, mswÿZß BwZK_v (BDwbfvwm©wU †cÖm wj :, 1997)

nd 2 Semester

Course Code : 511009 Credits : 3 Class Hours : 90 Course Title : Colonial and Post Colonial Bangla Theatre (Theory)

Course Objectives: This course provides students the brief history and critical outlooks on colonial theatre from 1995 to post-colonial theatre which includes contemporary phenomena of Bangladesh Theatre. It gives the dramaturgical tools to analyze the plays by Modhushudan, Girish, Rabindranath, Bijon Bhattacharya, Utpal Dutt, Badal Sarkar, Manier chawdhary Syed Waliullah, Sayeed Ahmed, Syed Shamsul Haque, Abdullah Al Mamun, Mamunur Rashid and Selim Al Deen. Key Readings :

Avï‡Zvl fU&ªvPvh©, evsjv g½j Kv‡e¨I BwZnvm (KjKvZv 1989)

‡mwjg Avj `xb, ga¨hy‡Mi evOjv bvU¨ (XvKv, 1996)

‣mq` Rvwgj Avn‡g`, nvRvi eQi : evsjv‡`‡ki bvUK I bvU¨Kjv (XvKv-1995)

‣mq` Rvwgj Avn‡g`, bvUgÛc Ges evsjv‡`‡ki RvZxq bvU¨kvjvÕ bvU¨cÎ (XvKv t 1995) wKbgq ivnv, evsjv w_‡qUvi (bqvw`j¯œx, 1985)

Avï‡Zvl fÆvPvh©, evsjv bvU¨ mvwn‡Z¨i BwZnvm (1g I 2q LÐ) kOL †Nvl, Kv‡ji hvÎv I iex›`ª bvUK|

Wt gÄykªx ‡P․ayix, iex›`ªbv‡_i iæcK mvs‡KwZK bvUK|

Drcj `Ë, wMwikgvbm|

‣mq` kvgmyj nK I ikx` nvq`vi (m¤úv) kZe‡l© bvUK, 1g LÐ (evsjv GKv‡Wgx, 1994 ) gybZvmxi gvgyb, Dwbk kZ‡Ki evsjv‡`‡ki w_‡qUvi (XvKv t 1985)

Bmivwdj knxb, cwi‡ekbv wkíKjv , evsjv‡`‡k GwkqvwUK †mvmvBwU

wecøe evjv, evsjv‡`‡ki bvMwiK w_‡qUvi myKzgvi wek^vm, evsjv‡`‡ki bvU¨PPv© I bvUK aviv (evsjv GKv‡Wwg , 1988) iv‡g›`y gRyg`vi (m¤úvw`Z), bvU¨ cÖwiµgv,Pvi `k‡Ki evsjv‡`‡k (behyM cÖKvkbx, 2013)

Kygvi ivq, iex›`ª bvUK : Av‡jvwKZ D™¢veb (wgÎ I †Nvl 2000) iv‡g›`y gRyg`vi, m¤úv`‡Ki wb‡e`b (myeb©, 2014)

Kexi †P․ayix, cÖm½ bvUK

Dc›`ªbv_ fÆvPvh©, iex›`ª – bvU¨- cwiµgv (Iwi‡q›U eK †Kv¤úvbx )

Course Code : 511010 Credits : 3 Class Hours : 90 Course Title : Performance (Practical)

Course Objectives: This is a practical course which is divided into two parts. First part encourages students to enact a dramatic piece using theatre idioms on stage. Second part of this course introduces students to use the techniques of performance before camera for screen. key readings:

Zettl, H. (2005). Television Production Handbook. India: Cengage Learning Jane Milling and Graham Ley, Modern Theories W. cÖKvk b›`x, gÂvwfbq (Anciv)

‡Mvjvg mv‡ivqvi, gÂ e¨e¯’vcbv (evsjv‡`k wkíKjv GKv‡Wwg, 2000)

Course Code : 511011 Credits : 2 Class Hours : 60 Course Title : Scenography : Set and Light Design (Theory)

Course Objectives: This is a practical course which enables students to develop technical and creative skills in art direction and light design for theatre, television and film. key readings:

Millerson, G. (1999, Third Ed.). Lighting for Television and Film. New York: Focal Press.

Parker, W. Oren and Smith, Havey K. Scene Design and Stage Lighting. 3rd ed. New York : Holf,

Rinehart and Winston, Inc., 1974.

Simonson, Lee. The Art of Scenic Design, New York : Harper & Row, 1950. Gillette, A.S. Stage Scenery : Its Construction and Rigging. 2nd. Ed. New York : Harper & Row. 1972.

Gillette, A.S. Stage Scenery. An Introduction to scende Design. New York : Harper & Row. 1967.

Parker, W. Oren and Smith, Havey K. Scene Design and Stage Lighting. 3rd ed. New York : Holf, Rinehart and Winston, Inc., 1974.

G.N. Dasgupta. Guide-line to Stage Lighting. (New Delhi, 1986) Reid, Francis (ed.) The Stage-Lighting Handbook.

Sellman Hunton D. Essentials of Stage Lighting. New York : Appleton Century Crafts, 1972. bx‡jvrcj Ki, gÂv‡jvK (XvKv : 1994 )

AvZvDi ingvb : bvUK Ki‡Z n‡j, XvKv 1992| cweÎ miKvi, bvU¨gÂ I bvU¨iæc|

Wt iwÄZ wgÎ, w_‡qUv‡ii `„‡k¨I weKvk I mgxÿv |

Course Code : 511012 Credits : 1 Class Hours : 30 Course Title : Scenography : Set and Light Design (practical)

Course Objectives: This is a practical course which enables students to develop technical and creative skills in art direction and light design for theatre, television and film. key readings:

Millerson, G. (1999, Third Ed.). Lighting for Television and Film. New York: Focal Press.

Parker, W. Oren and Smith, Havey K. Scene Design and Stage Lighting. 3rd ed. New York : Holf, Rinehart and Winston, Inc., 1974.

Simonson, Lee. The Art of Scenic Design, New York : Harper & Row, 1950. Gillette, A.S. Stage Scenery : Its Construction and Rigging. 2nd. Ed. New York : Harper & Row. 1972.

Gillette, A.S. Stage Scenery. An Introduction to scende Design. New York : Harper & Row. 1967.

Parker, W. Oren and Smith, Havey K. Scene Design and Stage Lighting. 3rd ed. New York : Holf, Rinehart and Winston, Inc., 1974.

G.N. Dasgupta. Guide-line to Stage Lighting. (New Delhi, 1986) Reid, Francis

(ed.) The Stage-Lighting Handbook.

Sellman Hunton D. Essentials of Stage Lighting. New York : Appleton Century Crafts, 1972. bx‡jvrcj Ki, gÂv‡jvK (XvKv : 1994 )

AvZvDi ingvb : bvUK Ki‡Z n‡j, XvKv 1992| cweÎ miKvi, bvU¨gÂ I bvU¨iæc|

Wt iwÄZ wgÎ, w_‡qUv‡ii `„‡k¨I weKvk I mgxÿv |

ourse Code : 511013 Credits : 3 Class Hours : 90 Course Title : Introduction of Film History (Theory)

Course Objectives: The course is designed to provide a general introduction to the discipline of film studies. Through screenings, readings, discussion, and writing, students will develop a formal and aesthetic appreciation of film, and acquire a general awareness of film history and its key movements. The course will also offer basic theoretical approaches to the various genres of narrative cinema as well as different modes of nonfiction cinema(documentary and avant-garde film practices), so that students will understand how cinema has developed globally and locally as art, technology, and social practicesfrom the late 19 th century to the digital age.

key readings:

Kristin Thompson, David Bordwell, Film History: An Introduction, (McGraw Hill Higher Education,2002)

Gieoffrey Nowwell, The Oxford History of World Cinema, (Oxford University Press, 1999)

J. Hoberman, Film After Film: (Or, What Became of 21st Century Cinema?),

(Verso, 2012)

Sidney Lumet, Making Movies, (Vintage, 1996)

Emmons. M, Film and Television: A Guide to The Reference Literature, (Conn Libraries Unlimited, 2006)

Mark C. Carnes, Past Imperfect: History According to the Movies, (Holt Mc Dougal, 1996)

Roger Ebert, Life Itself, (Grand Central Publishing, 2011)

Zakir Hossain Raju, Bangladesh Cinema and National Identity: In Search of the Modern?, (Routledge, 2015)

Corrigan, Timothy and Patricia White, The Film Experience: An Introduction, 2nd edition (New York: Bedford/St. Martins, 2008).

Corrigan, Timothy, Short Guide to Writing about Film, 8th edition (New York: Longman, 2011).

Hayward, Susan, Cinema Studies: The Key Concepts, 3rd edition (New York and London: Routledge, 2006).

Cook, Pam (ed.) The Cinema Book, 3rd edition (London: British Film Institute, 2008).

Furstenau, Marc (ed.), Film Theory Reader: Debates & Arguments (New York and London: Routledge, 2010).

Gibbs, John and Douglas Pye (eds.), Style and Meaning: Studies in the Detailed Analysis of Film (Manchester, UK: Manchester University Press, 2005).

Gomery, Douglas and Clara Pafort-Overduin, Movie History: A Survey, 2nd edition

(New York and London: Routledge, 2011).

Monaco, James, How to Read a Film: Movies, Media, and Beyond, 4th edition (New

York, Oxford University Press, 2009).

Nichols, Bill, Engaging Cinema: An Introduction to Film Studies (New York: W. W.

Norton & Company, 2010).

Nowell-Smith, Geoffrey (ed.), Oxford History of World Cinema (New York:

Oxford

University Press, 1997).

Simpson, P., Andrew U., & Shepherdson K.J. (eds.), Film Theory: Critical Concepts in Media and Cultural Studies (New York and London: Routledge, 2004). Stam, Robert, Film Theory: An Introduction (London: Blackwell, 2000).

Course Code : 511014 Credits : 3 Class Hours : 90 Course Title : Speech, Music & Dance (practical)

Key Readings:

Viola Spolin, Improvisation for the Theatre

Viola Spolin, Theatre Games for Rehearsal: A Director’s Handbook

Keith Johnstone, Impro: Improvisation for the Theatre Rudolf Laban, The Mastery of Movement

F. Matthias Alexander, The Alexander Technique

Kristen Linklater, Freeing the Natural Voice

Boal Augusto : Games for actors and Non-actors (London : Routledge, 1992).

Stanislavski, Constantin. An Actor Propares (London : 1980)

Cicely Berry, Voice and the Actor cicely Berry, Your Voice (Harrap, London 1975)

Sonia Moore, Traiming and Actor (Pengnin Booker, 1968)

Toby cole and Helen kich chinoy Actor on Acting (Croor Publishes, NY, 1954)

David Burrows,Sound, speech, and music (University of Massachusetts Press, c1990)

MvqÎx PU&ªvcva¨vq, fviZxq b„Z¨Kjv, (KjKvZv, 1385) Ab&Rb `vk¸ß, Awfbq wkí : gb I m„Rb (‡Mvjvc `vk¸ß) Ab&Rb `vk¸ß, Awfbq wkí ; †`‡ni fvlv †Mvjvc `vk¸ß) Ab&Rb `vk¸ß, Awfbq wkí ; msjvc I KÚ¯î †Mvjvc `vk¸ß) fv¯î e‡›`ª¨vcva¨vq, bvU¨: ¯Î I msjvc (‡mvmvBwU di GWz‡Kkb Bb w_‡qUvi, 1999) eªRmy›Ì `vm (Aby), Awf‡bZvi PwiÎ wbgv©Y (RvZxq mvwnZ¨ cwil`)

rd 3 Semester

Course Code : 521001 Credits : 3 Class Hours : 90 Course Title : English (Compulsory)

Course Objectives: To develop students’ English language skills, to enable them to benefit personally and professionally. The four skills - listening, speaking, reading and writing will be integrated to encourage better language use.

1. Reading and understanding Students will be expected to read passages they might come across in their everyday life, such as newspapers, magazines, general books etc. Simple stories will also be included to give students a familiarity with different uses of the language.

[N.B. : 5 Questions are to be answered. Each question will carry 4 marks. There may be division in each question]

a) Understanding different purposes and types of readings b) Guessing word-meaning in context. c) Understanding long sentences d) Recognizing main ideas and supporting ideas. e) Answering comprehension questions. f) Writing summaries. Writing : a) Writing correct sentences, completing sentences and combining sentences. 5 b) Situational writing : Posters, notices, slogans, memos, advertisements etc. c) Paragraph writing : Structure of a paragraph; topic sentences; developing ideas; writing a conclusion; types of paragraphs (narrative, descriptive, expository, persuasive); techniques of paragraph development (such as listing, cause and effect, comparison and contrast).

Or,

d) Newspaper writing : Reports, press releases dialogues etc. e) Writing resumes. Or, f) Writing letters : Formal and informal letters, letters to the editor, request letters, job applications, complaint letters etc. g) Essay : Generating ideas; outlining; writing a thesis sentence; writing the

essay: writing introductions, developing ideas, writing conclusions; revising and editing. a) Word order of sentences. b) Framing questions. c) Tenses, articles, subject-verb agreement, noun-pronoun agreement, verbs, phrasal verbs, conditionals, prepositions and prepositional phrases, infinitives, participles, gerunds. (Knowledge of grammar will be tested through contextualised passages). d) Punctuation. 4. Developing vocabulary : Using the dictionary, suffixes, prefixes, synonyms, antonyms, changing word forms (from verb to noun etc.) and using them in sentences.

5. Translation from Bengali to English :

6. Speaking skills : Speaking skills should be integrated with writing and reading in classroom activities.The English sound system; pronunciation skills; the IPA system; problem sounds, vowels, consonants and dipthongs; lexical and syntactic stress.

(Writing dialogue and practising it orally students can develop their speaking skill. Dialogue writing can be an item in writing test.)

Course Code : 521003 Credits : 3 Class Hours : 90 Course Title : Indigenous Theatre of Bangladesh (Theory)

Course Objectives: This is a theoretical course designed to help the student explore the form, structure and rasa in the Laka-natya of Bangladesh and study the Padma – Puran by Bijay Gupta and the Ramayana by Krttibasa and Maimansingha Gitika edited by Dinesh Chandra Sen. key readings:

Susil Kumar De, Studies in the History of Sanskrit Poeties (London, 1925). Byrski Christopher. Concept of Ancient Indian Theatre (New Delhi, 1974).

The Mirror Of Gesture: Being The Abhinaya Darpana Of Nandikesvara (1917) Paperback – January 29, 2010 by Nandikesvara (Author), Ananda Coomaraswamy (Translator), Gopala Kristnayya Duggirala (Translator)

Byrski Christopher. Concept of Ancient Indian Theatre (New Delhi, 1974). Richard Schechner, The Future of Ritnd (Rontledge 1993)

Engenio Barba, The Paper conoe (Rontledge 1995)

Av`¨ iOMvPvh© | fviZxq w_‡qUvi (w`j¯œx :b¨vkbvj eyK Uªv÷ 19975) Wt my‡ik P›`ª e‡›`¨vcva¨vq, fiZ bvU¨kv¯¿| Avdmvi Avng`, evsjv‡`‡ki b„‡Mvôx bvU¨ (evsjv GKv‡Wgx, 2008)

Course Code: 521005 Credits : 3 Class Hours : 90

Course Title : Classical Indian (Sanskrit) Theatre (Theory)

Course Objectives: This course is designed to help the students to explore the concepts of rupaka, itivrtta and rasa as laid out in the Natyashastra. It guides students to analyze Kalidasa's Abhignyana Sakuntala and Shudraka's Mrichchakatika based on dramaturgical concepts of Natyashatra. This course designed to help the students develop their physical apparatus and crafts in terms of the principles of Angika, Vacika, and Sattvika as laid out in the Natyasestra. It is mandatory for the students, as a part of their leering experience, to participate in course 503 as observers and take up specific duties as assigned. key readings:

Ghosh, Manomohan tr. The Natyasastra Calcutta, 1967. Sastri Surendranath, Laws and Practice of sanskrit Drama.

Susil Kumar De, Studies in the History of Sanskrit Poeties (London, 1925). Shekher, Indu. Sanskrit Drama : Its origin and Decline (New Delhi, 1977). Ananda K. Coomasarwaury. The Dance of Shiva (New Delhi, 1982).

Chattopadhayay, Siddheswar. Theatre in Ancient India (New Delhi ; Manohar. 1993).

Bhatt G.K. Sanskrit Drama (Delhi : Ajanta 1985).

Mandal, Paresh Chandra, Kalidasa as a dramatist a study (Dhaka University of Dhaka 1986.

Wells, Henry W Six Sanskrit plays (Bombay Asia Publishing House, 1964) Chaitanya Krishna. A New History of Sanskrit Literature (New Delhi ; Manohar. 1977).

Wells, Henry W. The Classical Drama of India. Bombay: Asia : Publishing House 1963).

Kulkarni, R.P. The Theatre According to the Natyasastra of Bharata (Delhi : Kanishka, 1994).

Av`¨ iOMvPvh©| fviZxq w_‡qUvi ( w`j¯œx : b¨vkbvj eKz Uªv÷ 19750 Wt my‡ik P›`ª e‡›`vcva¨vq, fiZ bvU¨kv¯¿| Wt MxZv †mb¸ß, wek^i½vjq I bvUK| R¨vwZf~lY PvKx, wek^i½vjq I bvUK| Wt bvivqY P›`ª wek^vm, Kvwj`v‡mi kKzbZœjg, Wt mZ¨ bvivqY PµeZ©x m¤úv`bv AwfÁvb kKzbZœjg, k¤¢ybv_ PµeZ©x, Kvwj`v‡mi iPbv mgMªi f’wgKv ce© Kgj Kzgvi m¨vb¨vj, g„”QKwU‡Ki g~j¨vqb

Course Code : 521007 Credits : 3 Class Hours : 90 Course Title : Basics of Communication (Theory)

Course Objectives: The goal of this course is to introduce students to the key concepts of communication through theatre and media. The key ideas of communication which will be covered in this course include the types of communication such as interpersonal, small group and mass communication, the models of human communication, conflict resolution and communication skills and competence. key readings:

Millerson, G. (1999, Third Ed.). Lighting for Television and Film. New York: Focal Press.

Devito, Joseph A. (2003). Human communication. USA: Pearson Education, Inc, Barker, Larry L. (1981,Ed.2). Communication. Prentice – Hall

Pearson, C& Paul Nelson (2011). An Introduction to Human Communication. New York: McGraw-Hill cv_© P‡Ævcva¨vq, MYÁvcb (cwðge½ ivR¨ cylZœK cl©¨, 1982) AvdZve ‡nv‡mb (Ab~), MY‡hvMv‡hvM ZË¡vejx (evsjv GKv‡Wgx,1996) ‡bqvkvj eY©mi (Ab~), †hvMv‡hvM cÖwµqv (evsjv GKv‡Wwg 1977)

Course Code : 521008 Credits : 3 Class Hours : 90 Course Title : Acting and Improvisation (Practical)

Course Objectives: This is an advance course is founded on the belief that improvisation is a conceptual metaphor for collaborative means of negotiating indeterminacy in a performative situation, a context-dependent ‘play’ for promoting the integration of cognitive, emotive, and embodied aspects of acting, and a tool for developing skills in tactical and strategic thinking and problem solving in an act of performance. key readings:

Viola Spolin, Improvisation for the Theatre

Viola Spolin, Theatre Games for Rehearsal: A Director’s Handbook Keith Johnstone, Impro: Improvisation for the Theatre

Course Code : 521010 Credits : 3 Class Hours : 90 Course Title : Indigenous Theatre Performance (Practical)

Course Objectives: This is a practical course to perform a dramatic piece for indigenous theatre of Bangladesh.

th 4 Semester

Course Code : 521011 Credits : 3 Class Hours : 90 Course Title : Introduction of Photography (Theory)

Course Objectives: This course is to offer a well-rounded scope of the technical and conceptual fundamentals of photography. We will explore light and optical theory; camera and light meter operations and controls; basic black and white chemical processes for negatives and prints; photo finishing (spotting, mounting and matting, and framing); and presentation options. Of equal or more importance, each assignment will be concerned with the visionary opportunities available to each working artist involved with aesthetic, conceptual and ethical problem solving. This is a combined course of theory and practical form of photography, where students could build their esthetic sense for visual media. key readings:

Freeman,Michael. Introduction to Photography.

London: greenwood Press, 1990.Sammon,Rick Complete Guide to Digital Photography.New york:W.W. Norton,2004. Feininger,Andreas, Complete Color Phototgrapher. London: Thamos & Hadson, 1971. Kerus,Robert L. Photo Journalism. New Jersey: Prentice Langford’s Basic Photography (2010), Focal Press

Ian Farrell, Complete Guide to Digital Photography

John Hedgecoe, The Book of Photography: How to see and take better pictures

Newhall. B, History of Photography (1982), New York: The Museum of Modern Art gÄyi Avjg †eM, AvaywbK d‡UvMÖvwd (1974), eyKm GÛ GjBW KjKvZv

Course Code : 521013 Credits : 1 Class Hours : 30 Course Title : Scenography: Art, Direction & Creative Design (Theory)

Course Objectives: This practical course will introduce students to concepts of art direction & creative design for television and film. These will deliver intensive vocational training, enabling designers to develop their creative and technical ability in art direction for film and television performance. This course explores the craft and aesthetics of Set and Props in context of various art forms and expressions. key readings:

Course Code : 521014 Credits : 2 Class Hours : 60 Course Title : Scenography: Art, Direction & Creative Design (Practical)

Course Code : 521015 Credits : 1 Class Hours : 30 Course Title : Acting & Improvisation for Media (Theory)

Course Objectives: This practical course seeks to introduce students to the uses of performance vocabularies of media (TV & Film). The students will be required to visit shooting of a drama/film and devise a performance under supervision of the course instructor.

key readings:

Course Code : 521016 Credits : 2 Class Hours : 60 Course Title : Acting & Improvisation for Media (Practical)

key readings

Course Code : 521017 Credits : 1 Class Hours : 30 Course Title : Costume, Props, Mask and Make-up (Theory)

Course Objectives: This practical course will introduce students to concepts of Costume, Props, Mask and Make-up for theatre, television and film. These will deliver intensive vocational training, enabling designers to develop their creative and technical ability in costume, props and makeup for theatre, film and television performance. This course explores the craft and aesthetics of Costume, Props, Mask and Make-up in context of various art forms and expressions. key readings:

Barton, Lucky. Historic Costume for the Stage.

Kemisarijevsky, Theodore. The Costume of the Theatre. New York : Holt, Rinchart and Winston Inc., 1932.

Motley. Designing and Marking Costumes.

London : Studio Vista Ltd. 1964.

Houston, Mary G. Ancient Greek, Roman and Byzantine Costume and Decoration.

2nd ed.

London : Black Ltd. 1947.

Paync. Blanche, History of costume from the Ancient Egyptians to the 20th

Century. New York. Harper & Row, 1966,.

Russel, Doglas. Stage Costume Design : Theory Technique and Style. New York : Appleton Century-Crofts. 1973.

Al kazi, Roshen. Ancient Indian Costume New Delhi, 1983. Corson, Richard, Stage Make-up. 4th ed.

New York : Appleton-Century Crofts. 1967.

Conway, Heather. Stage Properties. London : Jenkis, Ltd. 1959. Govier, Jac Quit. Create Your own stage Props.

Mary T. Kidd, Stage Cstume (A & C Black, London, 1996)

Patsy Baken, Wigs & Make-up (Focal Press, 1993) iwÄZ wgÎ, AOM iPbv Kjv | beMÖ¯’ KzwUi, KjKvZv 1997|

Course Code : 521018 Credits : 2 Class Hours : 60 Course Title : Costume, Props, Mask and Make-up (Practical)

Barton, Lucky. Historic Costume for the Stage.

Kemisarijevsky, Theodore. The Costume of the Theatre. New York : Holt, Rinchart and Winston Inc., 1932.

Motley. Designing and Marking Costumes.

London : Studio Vista Ltd. 1964.

Houston, Mary G. Ancient Greek, Roman and Byzantine Costume and Decoration. 2nd ed.

London : Black Ltd. 1947.

Paync. Blanche, History of costume from the Ancient Egyptians to the 20th

Century. New York. Harper & Row, 1966,.

Russel, Doglas. Stage Costume Design : Theory Technique and Style. New York : Appleton Century-Crofts. 1973. Al kazi, Roshen. Ancient Indian Costume New Delhi, 1983. Corson, Richard, Stage Make-up. 4th ed.

New York : Appleton-Century Crofts. 1967.

Conway, Heather. Stage Properties. London : Jenkis, Ltd. 1959. Govier, Jac Quit. Create Your own stage Props.

Mary T. Kidd, Stage Cstume (A & C Black, London, 1996)

Patsy Baken, Wigs & Make-up (Focal Press, 1993)

iwÄZ wgÎ, AOM iPbv Kjv | beMÖ¯’ KzwUi, KjKvZv 1997|

Course Code : 521019 Credits : 1 Class Hours : 30 Course Title : Working with Light, Sound & Image (Theory)

Course Objectives: This course is fully practical course based on design theories and concept which will develop in classroom. A student will have to conceptualize their thought and they will show their concept through set, light, costume, props, makeup, and total arrangements. They will show how work with the equipment’s of designing. This subject introduces students to the fundamentals and grammars of Light, Sound and Image in Theatre and Media as a means of storytelling. This course will grow their ability to visualize the scenes of play and film.

Key Readings:

Neil Fraser, Lighting and Sound (Phaidon Theatre Manual), (Phaidon, 1994) Olessia Tourkina, The Evaluation of Image : Light, Sound and Material, (St. Petersburg, 1996)

Jill Desmond, Companion to Light, Sound and Moving Image, (Denver Art Museum, 2011)

Steve Parker, 20th Century Media : 1900-20 Sound and Light (The History of Communication & Information Technology and How It Has Changed The World We Live In), (Heinemann Library, 2002)

Course Code : 521020 Credits : 2 Class Hours : 60 Course Title : Working with Light, Sound & Image (Practical)

course will grow their ability to visualize the scenes of play and film.

Key Readings:

Neil Fraser, Lighting and Sound (Phaidon Theatre Manual), (Phaidon, 1994) Olessia Tourkina, The Evaluation of Image : Light, Sound and Material, (St. Petersburg, 1996)

Jill Desmond, Companion to Light, Sound and Moving Image, (Denver Art Museum, 2011)

Steve Parker, 20th Century Media : 1900-20 Sound and Light (The History of Communication & Information Technology and How It Has Changed The World We Live In), (Heinemann Library, 2002)

5th Semester

Course Code : 531001 Credits : 3 Class Hours : 90 Course Title : Ethnic Theatre (Theory)

Course Objectives: This course attempts to survey and to analyze non-Bengali performance histories of diverse cultural communities of Bangladesh and to some extent across the world. It explores the notion of cultural multiplicity against the monolithic discourse of nationalism.

key readings :

Syed Jamil Ahamed, Reading Against orient list Grain, Performance politics entwined with a Baddhist strain.

Course Code : 531003 Credits : 3 Class Hours : 90 Course Title : Modern Euro-American Theatre (Theory)

Course Objectives:This course gives students an overall theoretical understanding about the various streams and movements of theatre from early capitalism to the age of neo-liberal globalized contemporary western world. It focuses Ibsen's A Doll's House within the context of realism, Chekhov's Three Sisters in terms Naturalism, Maeterlinck's Intruder through symbolism, wedekind's The Spring Awakening within the frame of expressionism, Arthur Miller's Death of A Salesman, Brecht's Mother Courage within the theory of epic theatre, Beckett's Waiting for Godot and the theatre of the absurd and Heiner Muller's Hamletmachine and post dramatic theatre. key readings :

Raymond Williams, Drama from Jbsen to Brecht (Harmondsworth : 1973) Martin Esslin, Theatre of the Absurd (Hasmondsworth : 1968). th Bamber Gascogne, 20 Century Drama (London, 1962). th Freserick Lumely. New Trends in 20 Century Drama (London, 1965). Robext Brustein, The Theatre of Revolt, (London, 1965). W.A. Armstrong (ed). Experimental Drama (London, 1963). Hugh Kenner, A Readers guide to Samuel Beckett. th Robert Corrigan (ed., 20 Century View on Miller. J.L. Styan, Drama in Performance. Bigsby, C.W.E.A Critical Introduction to Twentieth-century American Drama (Cambridge : 1984) Harvey John, Anouilh : A Study of Theatrics (New Haven : 1964). Bentley, Eric. The Theory of Modern Stage (Harmondsworth : 1976). Brown, John Russell. Modern British Dramatists (Englewood Cliffs, N.J. 1968) Theatre in Theory 1900-2000 : An Anthology Edited by David Krasner Blackwell Publishing, UK, USA, Australia, 2008 The Theory of the Modern Stage An Introduction to Modern Theatre and Drama Edited by Eric Bently Penguin Books, UK. 1968 The Theatre Protest and Paradox Developments in the Avant Garde Drama Revised Edition By George well warth New York University Press 1971 August O Boal Theatre of the Oppressed Pluto Press, London, 1998 Maria M. Delgadok Panl Heritage, in contact with the book? Directors tack theatre (Manchester University Press, 1996)

Course Code : 531005 Credits : 3 Class Hours : 90 Course Title : Acting Theories (Theory)

Course Objectives:This is a theoretical course on acting to sharpen the students' analytical understanding on diverse schooling of acting which includes approaches of Stanislavski, Meyerhold, Grotowski and Brecht. key readings :

Stanislavski, Constantion. My Life in Art (London) 1980. Moore, Sonia. The Stanislavski System (Harmondsworth : 1960). Willett, John. The Theatre of Bertolt Brecht (London : 1977) Stanislavski, Constantin. An Actor Propares (London : 1980) Meyerhold, The Theatre of Meyerhold

Meyerhold On Theatre (Performance Books) Paperback – April 6, 1978 by Vsevolod Meyerhold (Author), Edward Braun (Editor)

Towards a Poor Theatre (Theatre Arts (Routledge Paperback)) Paperback – March 1, 2002

by Jerzy Grotowski (Author), Eugenio Barba (Editor) Jane Milling & Graham ley, Modern theories g Performance (Palgrave, 2001)

Marvin Carlson, theories g the Theatre (Cornell University Pess, 1984) Philip B. Zarrilli (Ed), Acting (Re) lonsidaed (Rontledge, 1995) John Rudlin , commedia dell’ Arte (Rontledge, 1994)

Course Code : 531007 Credits : 3 Class Hours : 90 Course Title : Digital Media (Theory)

Course Objectives:This subject is designed to provide an introduction to the ever- evolving world of online digital and social media. Students will learn how to better navigate the web to find, filter and curate authentic and credible information, consider their own digital identity as part of their participation in collaborative media and culture and examine the strength and influence of online networks. Students will cultivate best practice in their personal and professional online digital media life, which will culminate in a major project that showcases their development as thoughtful consumers and producers of online media content.

The subject will cover the following topics:

 History and context of online digital and social media    Navigating the world wide web    Filtering and curation    Online credibility and authenticity    Online identity    Digital media production and consumption    The power of participation    Collective intelligence    Online social and professional networks 

key readings :

1. Digital media : the future

John Vince and Rae Earnshaw (eds.).

Published: London ; New York : Springer, c2000.

2. Digital media : a problem-solving approach for computer graphics Rimon Elias.

Author: Elias, Rimon author Published: Cham : Springer, 2

3. Digital media law

Ashley Packard.

Author: Packard, Ashley

Published: Chichester, West Sussex, U.K. ; Malden, MA : Wiley-Blackwell, 2010.

Course Code : 531008 Credits : 3 Class Hours : 90 Course Title : Classical Sanskrit Theatre (practical)

Course Objectives:It is a practical course based on the theory of course no 203. The students will have to perform a Sanskrit drama for this course.

6th Semester

Course Code : 531009 Credits : 1 Class Hours : 30 Course Title : Cinematography and Editing (Theory)

Course Objectives: This course explores technical, aesthetic, and practical consideration of cinematography and editing. It will concentrate on the development of cinematography and editing styles that are appropriate to a vast range of narrative and non–narrative materials. Its main focus is on developing software skills for audio and video editing. Editing techniques will be taught using Final cut pro and AVID software. key readings :

Thompson, R. and Christopher Bowen (2009, Second Ed.). Grammar of the Edit. New York: Focal Press. Murch, W. (1992). In the Blink of an Eye: A Perspective of Film Editing. NSW, Australia: Australian Film, Television & Radio School.

Reisz, K. and Gavin Millar. (2009, Second Ed.). The Technique of Film Editing. New York: Focal Press Osder, J. and Robbie Carmen. (2007) Final cut pro work Flows. New York: Focal Press

The instructor will prepare a custom courseware incorporating necessary readings and exercises.

Course Code : 531010 Credits : 2 Class Hours : 60 Course Title : Cinematography and Editing (Practical)

Course Objectives:This course explores technical, aesthetic, and practical consideration of cinematography and editing. It will concentrate on the development of cinematography and editing styles that are appropriate to a vast range of narrative and non–narrative materials. Its main focus is on developing software skills for audio and video editing. Editing techniques will be taught using Final cut pro and AVID software. key readings :

Thompson, R. and Christopher Bowen (2009, Second Ed.). Grammar of the Edit. New York: Focal Press.

Murch, W. (1992). In the Blink of an Eye: A Perspective of Film Editing. NSW, Australia: Australian Film, Television & Radio School.

Reisz, K. and Gavin Millar. (2009, Second Ed.). The Technique of Film Editing. New York: Focal Press Osder, J. and Robbie Carmen. (2007) Final cut pro work Flows. New York: Focal Press The instructor will prepare a custom courseware incorporating necessary readings and exercises.

Course Code : 531011 Credits : 1 Class Hours : 30 Course Title : Reporting and Anchoring (Theory)

Course Objectives: This course will discuss different issues related news reporting and anchoring. It will teach students to write TV news scripts and speak for a television audience, deliver live converge, and conduct on-camera interviews. It will also teach students how to anchor a news show. The aim of this course is to enable students to become instantaneous and spontaneous in thinking, speaking as well as expressing. key readings :

Boyd, A. (2000, Fifth Ed.) Broadcast Journalism. New York: Focal Press. White, Ted (2013, myavskSixth ‡kLiEd.). ivq, Broadcast wi‡cvwUs (evsjvNews. GKv‡Wgx, New York: 1995) Focal Press.

Course Code : 531012 Credits : 2 Class Hours : 60 Course Title : Reporting and Anchoring (practical)

Boyd, A. (2000, Fifth Ed.) Broadcast Journalism. New York: Focal Press. White, Ted (2013, Sixth Ed.). Broadcast News. New York: Focal Press. myavsk ‡kLi ivq, wi‡cvwUs (evsjv GKv‡Wgx, 1995)

Course Code : 531013 Credits : 2 Class Hours : 60 Course Title : Program Planning and Producing (Theory)

Course Objectives:This course covers the creative side of production, as well as technical operations. Following a hands-on approach, students explore all aspects of in-studio and field production, scripting, camera operations and editing. This course will emphasize the development of technical skills, such as lighting, cross- cutting, visual effects, editing and aim to integrate technical knowledge with the management skills necessary to produce TV shows and movies. key readings :

Thomas, J.P. (2009). Media Management Manual. New Delhi: Unesco. Quaal. W.L. (1976). Broadcast Management : Radio, Television, Florida: Hasting House

Course Code : 531014 Credits : 1 Class Hours : 30 Course Title : Program Planning and Producing (practical)

key readings :

Thomas, J.P. (2009). Media Management Manual. New Delhi: Unesco. Quaal. W.L. (1976). Broadcast Management : Radio, Television, Florida: Hasting House

Course Code : 531015 Credits : 3 Class Hours : 90 Course Title : Aesthetics for Theatre and Media (Theory)

Course Objectives: This course engages the students with questions of aesthetics and critical sensibilities which concern with the nature of beauty and taste for theatre, film and media.

Key readings: 1. Jack Burnham, 'Systems of Esthetics' Artforum Spectator 1968. 2. Michael Corris ed., Conceptual Art: Theory, Myth, and practice, Cambridge 2004, pg.197

3. nvmbvZ Ave`yj nvB, mevi Rb¨ b›`bZË¡ (KvMR cÖKvkb, 2008) 4. myaxi Kzgvi b›`x, b›`bZË¡ (cwðge½ ivR cy¯ÍK cl©¨, 1979) 5. •mq` gbRyiæj Bmjvg, b›`bZË¡ (evsjv GKv‡Wgx)

Course Code : 531016 Credits : 3 Class Hours : 90 Course Title : Performance (Practical)

Course Objectives:This is a practical course to perform a dramatic piece for theatre, TV and film.

7th Semester

Course Code : 541001 Credits : 1 Class Hours : 30 Course Title : Basics of Creative Writing for Stage and Screen (Theory)

Course Objectives:This is a practical course which aims to introduce students to the techniques of creative writing for the theatre, TV and film. key readings :

Marner, T. St. J. (1972). Directing Motion pictures. London: The Tantivy Press Howard, D. and Edward Mabley (1993). The Tools of Screenwriting. London: Souvenir Press. Parker. P. (1999). The Art and Science of Screenwriting. Exeter, UK.: Interllent. Field, S (2005). Screenplay : The Foundation of Screenwriting. New York: Bentam Dell. Archer, William. Play-Making : A Manual of Craftsmanship. New York : Dover Publication, Inc. 1960.

Grebanier, Bernara. Play writing. New York : Thomas Y. Crowell Company, 1961. Lawson. John Howard. Theory and Technique of Playing New York : Hill and Wang. 1960. Macgowan, Kenneth. A Primer of Playing. New York : Random House Inc., 1951. Rowe, Kenneth. Write That Play. New York : Funk & Wagnalls, Inc. 1039. Smiley, Sam. Playwriting : The Structure of Action. Englewood Cliffs. N.J. : Prentice Hall, Inc. 1971. Dace, Wallace. Elements of Dramatic Structure. Manhattan. Kan. : AG Press 1972. Thompson, Alan R. The Anatomy of Drama, 2nd ed. Berkeley : University of California Press, 1946.

The instructor will prepare a custom courseware incorporating necessary readings and exercises.

Course Code : 541002 Credits : 2 Class Hours : 60 Course Title : Basics of Creative Writing for Stage and Screen (Practical)

Course Objectives:This is a practical course which aims to introduce students to the techniques of creative writing for the theatre, TV and film. key readings :

Archer, William. Play-Making : A Manual of Craftsmanship. New York : Dover Publication, Inc. 1960.

Dace, Wallace. Elements of Dramatic Structure. Manhattan. Kan. : AG Press 1972. Thompson, Alan R. The Anatomy of Drama, 2nd ed. Berkeley : University of California Press, 1946.

The instructor will prepare a custom courseware incorporating necessary readings and exercises.

Course Code : 541003 Credits : 1 Class Hours : 30 Course Title : Applied Performance Through Theatre and Media (Theory)

Course Objectives:The course seeks to introduce students to the uses of performance vocabularies through theatre and media in the development of underprivileged communities. The students will be required to visit a community and devise a performance under supervision of the course instructor. key readings :

Freire, Paulo. Pedagogy of oppressed (Harmondsworth). (1972) Boal, Augast Theatre of the oppressed (London,1974) Syed Jamil Ahmed. ‘Theatre for Development and Social Change’ Bangla Academy Journal Jan-Jun, 1993). Eugeno Van Erven. Radical People’s Theatre (Calcutta 1980). Auwal Suzedul. Theatre and Development Grameen Proverty Research. Vol.2 No. 3July, 1996. Christina Nygren (Ed), Theatre for Development (Swedish ITI, 2009)

‰mq` Rvwgj Avn‡g`,Dbœqb bvU¨ : ZË¡ I cÖ‡qvM (XvKv, 2001) Avwbmyi ingvb, Dbœqb wRÁvmv (XvKv, 1992) ‡evinvb DwÏb Lvb Rvnv½xi, (Abyev` : Wv‡jg P›`ª eg©b, myivBqv †eMg ) evsjv‡`‡ki MÖvgvÂj I †kÖYx msMÖvg (XvKv, 1993) isMjvj †mb, evsjv‡`‡ki mvgvwRK mZœiweb¨vm (XvKv, 1985) ‡gvnv¤§` Avnmvb Lvb, eûm&ivwqZ ÿZgv – m¤úK© : we‡k¯œlY I AbymÜvb, evsjv GKv‡Wwg, XvKv, 2013| ‡gvnv¤§` Avnmvb Lvb, evsjv‡`‡k Dbœqb bvU¨ PPv©, GwkqvwUK †mvmvBwU evsjv‡`k KZ©„K cÖKvwkK Òcwi‡ekbv wkíKjvÓ (12 LÐ) mv‡R`yj AvDqvj, Ô †Lvjv bvUKÕ, bvU¨cÎ 1995| md`vi nvkwg weiwPZ mvZwU c_ bvU‡Ki GKwU chv‡jvPbv| evsjv‡`k cÖ¤œc w_‡qUvi †dWv‡ik‡bi Aóg RvZxq m‡¤§j‡b cÖKvwkZ my‡fbxi m¤úv`K : mv‡R`yj AvDqvj|

Lvqi¤œj evmvi, MÖvg evsjvq MY bvUK (XvKv : 1995)

Course Code : 541004 Credits : 2 Class Hours : 60 Course Title : Applied Performance Through Theatre and Media (Practical)

Eugeno Van Erven. Radical People’s Theatre (Calcutta 1980). Auwal Suzedul. Theatre and Development Grameen Proverty Research. Vol.2 No. 3July, 1996. Christina Nygren (Ed), Theatre for Development (Swedish ITI, 2009) ‰mq` Rvwgj Avn‡g`,Dbœqb bvU¨ : ZË¡ I cÖ‡qvM (XvKv, 2001) Avwbmyi ingvb, Dbœqb wRÁvmv (XvKv, 1992) ‡evinvb DwÏb Lvb Rvnv½xi, (Abyev` : Wv‡jg P›`ª eg©b, myivBqv †eMg ) evsjv‡`‡ki MÖvgvÂj I †kÖYx msMÖvg (XvKv, 1993) isMjvj †mb, evsjv‡`‡ki mvgvwRK mZœiweb¨vm (XvKv, 1985) ‡gvnv¤§` Avnmvb Lvb, eûm&ivwqZ ÿZgv – m¤úK© : we‡k¯œlY I AbymÜvb, evsjv GKv‡Wwg, XvKv, 2013| ‡gvnv¤§` Avnmvb Lvb, evsjv‡`‡k Dbœqb bvU¨ PPv©, GwkqvwUK †mvmvBwU evsjv‡`k KZ©„K cÖKvwkK Òcwi‡ekbv wkíKjvÓ (12 LÐ) mv‡R`yj AvDqvj, Ô †Lvjv bvUKÕ, bvU¨cÎ 1995| md`vi nvkwg weiwPZ mvZwU c_ bvU‡Ki GKwU chv‡jvPbv| evsjv‡`k cÖ¤œc w_‡qUvi †dWv‡ik‡bi Aóg RvZxq m‡¤§j‡b cÖKvwkZ my‡fbxi m¤úv`K : mv‡R`yj AvDqvj| Lvqi¤œj evmvi, MÖvg evsjvq MY bvUK (XvKv : 1995)

Course Code : 541005 Credits : 3 Class Hours : 90 Course Title : Introduction to New Media (Theory)

Course Objectives: This course will encourage students to critically consider, discuss and analyze some of the key terms, concepts, ideas and approaches of new media. Also introduce student to the study of contemporary forms of media communications. The course surveys the main topics in the field and introduces students to a variety of analytical perspective. Issues include the economics of media production; the impact of media on individual attitudes, values and behaviors; the role of media professionals and the impact of new media knowledge. key readings :

The Language of New Media (Leonardo Books) Reprint Edition by Lev Manovich (Author)

When Media Are New: Understanding the Dynamics of New Media Adoption and Use, John Carey and Martin C. J. Elton

Wasko, J. ed. (2005). A Companion to Television. MA, US: Blackwell

Kolker, R. (1999). Film From and Culture. Bostom: McGraw-Hill

Hill, J. and Pamela C. Gibson. ed. (1998). The Oxford Guide to Film Studies. Oxford: Oxford University Press.

Course Code : 541007 Credits : 3 Class Hours : 90 Course Title : Directing Theories (Theory)

Course Objectives: This course studies basic Theatre, Television and Film Directing Theories production. key readings :

Dean and Carra., Fundamentals of Play Direction (New York 1965). Cole and Chiney. Directors on Directing (New York 1963).

Bradly and Williams, Directors’ Theatre (London 1988) David Richard Jones, Great Directors at work :

Maria M. Delgado & Panel Heritage, In contact with the Gods ? Directors tack theatre (Manchester University Pass, 1996)

Course Code : 541008 Credits : 3 Class Hours : 90 Course Title : Ply Direction (Theatre, Practical)

Course Objectives: This is a practical course based on the theory of 541008 every student will have to direct a play or couple of scene of that play. It will develop students creative directing skill.

th 8 Semester

Course Code : 541009 Credits : 3 Class Hours : 90 Course Title : Spectator’s Response Theories (Theory)

Course Objectives:This course deals with the theories of spectator's response so that the students can incorporate the audience's point of views in their artistic projects. It is such a theoretical course which stimulate students to realize the complex semiotic system of a particular society. It enables students to outline indeterminacy within the relationship between creating and responding or meaning. after seeing the art . One of the principles of this course is to open the mind of students to interiorize the vivid elements of spectators' s socio-cultural and bio-psychological world.

Key Readings:

Catherine Schüler, Spectator Response and Comprehension: The Problem of Karen Finley's "Constant State of Desire" (TDR (1988), Vol:34, No.1 (spring) (1990) pp. 131- 145).

Course Code : 541011 Credits : 1 Class Hours : 30 Course Title : Radio Production and Content Management (Theory)

Course Objectives:In this subject students are introduced to fundamental techniques in radio production and content management. Students learn basic production skills in areas such as research, recording, interviewing, editing, writing and presenting for radio. The subject aims to develop an ability to understand, analyse and reflect upon radio programmming content in terms of production style, genre and techniques. They will learn to manage programming content for a variety of digital platforms in an authentic setting.

The subject will cover the following topics:

  Principles of editing audio for broadcast    Content management in a cross platform environment    Evaluating radio programs 

Key Readings: 1. Radio Production

Author: McLeish, Robert

Published: Hoboken : Taylor & Francis, 2012.

2. Radio production : art and science Michael C. Keith.

Author: Keith, Michael C. 1945-Published: Boston : Focal Press, c1990.

3. Modern radio production

Lewis B. O'Donnell, Philip Benoit, Carl Hausman.

Author: O'Donnell, Lewis B.

Published: Belmont, Calif. : Wadsworth Pub. Co., c1986. 6. Radio programme production; a manual for training. Author:

Aspinall, Richard

Published: Paris, Unesco, 1971.

Course Code : 541012 Credits : 2 Class Hours : 60 Course Title : Radio Production and Content Management (Practical)

The subject will cover the following topics:

 Basic studio and panel operation    Announcing and radio presentation fundamentals    Researching and planning for radio programming    Understanding audiences    Formats and production styles and genres    Interviewing and writing for radio programming    Principles of editing audio for broadcast    Content management in a cross platform environment    Evaluating radio programs 

Key Readings: 1. Radio Production

2.Author: McLeish, Robert

3.Published: Hoboken : Taylor & Francis, 2012. 4. Radio production : art and science Michael C. Keith.

Author: Keith, Michael C. 1945-Published: Boston : Focal Press, c1990.

5. Modern radio production

Lewis B. O'Donnell, Philip Benoit, Carl Hausman.

Author: O'Donnell, Lewis B.

Published: Belmont, Calif. : Wadsworth Pub. Co., c1986. 6. Radio programme production; a manual for training. Author: Aspinall, Richard

Published: Paris, Unesco, 1971.

Course Code : 541013 Credits : 1 Class Hours : 30 Course Title : Directing for TV and Film (Theory)

Course Objectives:This course studies basic directorial techniques for Television and Film. It will focus the fundamental elements of directing film and television so that the students make themselves skilled in direction. At a time the course will provide the diversified approaches of master director in field of theatre and film so that the students can obtain the critical views and creative imagination in making. key readings :

Dean and Carra., Fundamentals of Play Direction (New York 1965). Cole and Chiney. Directors on Directing (New York 1963). Bradly and Williams, Directors’s Theatre (London 1988) David Richard Jones, Great Directors at work : Stanislavski, Brecht, Kazan, Brook. (Berkely- Spolin, Viola. Theatre Games for Rehearsal : A Directors’s Handbook (Evanston IIIinois. 1985).

Mitter, Shomit. Systems of Rehearsal : Stanislavsky Brecht, Grotowski and Brook. (London : Routledge Routledge, 1992).

Course Code : 541014 Credits : 2 Class Hours : 60 Course Title : Directing for TV and Film (Practical)

Course Objectives : This course studies basic directorial techniques for Television and Film. It will focus the fundamental elements of directing film and television so that the students make themselves skilled in direction. At a time the course will provide the diversified approaches of master director in field of theatre and film so that the students can obtain the critical views and creative imagination in making. key readings :

Dean and Carra., Fundamentals of Play Direction (New York 1965). Cole and Chiney. Directors on Directing (New York 1963).

Bradly and Williams, Directors’s Theatre (London 1988) David Richard Jones, Great Directors at work : Stanislavski, Brecht, Kazan, Brook. (Berkely- Spolin, Viola. Theatre Games for Rehearsal : A Directors’s Handbook (Evanston IIIinois. 1985). 46

Mitter, Shomit. Systems of Rehearsal : Stanislavsky Brecht, Grotowski and Brook. (London : Routledge Routledge, 1992).

Course Code : 541015 Credits : 3 Class Hours : 90 Course Title : Art, Business and Management (Theory)

Course Objectives: This theoretical course is an introduction to business policy in theatre, film and TV program. It gives orientation to the students to apply the concepts of financing and marketing to a TV, film and theatre program. The course also gives an overview of nonprofit arts organization design, strategic planning, management and leadership.

Key readings :

Thomas, J.P. (2009). Media Management Manual. New Delhi: Unesco. Quaal. W.L. (1976). Broadcast Management : Radio, Television, Florida: Hasting House

Course Code : 541017 Credits : 3 Class Hours : 90 Course Title : Dissertation on Theatre and Media (Theory)

Course Objectives:This course is for the presentation of a 15,000 to 20,000-words dissertation. The students will carry out individual and autonomous research under the supervision of teacher. They will also be required to present at least one seminar paper that anticipates the dissertation.

Course Code : 541018 Credits : 3 ------Course Title : Viva