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DIPLOMA in CINEMATOGRAPHY Course Outcome CL
Government of Karnataka Department of Technical Education Board of Technical Examinations, Bengalooru DIPLOMA IN CINEMATOGRAPHY Course Title: Course Code: 15CN31T LENS and LIGHTING TECHNIQUES Credits (L:T:P) : 4:0:0 Core/ Elective: CORE Contact Hrs: 4Hrs/week Type of course: Lecture Total Contact Hours: 52 CIE: 25 Marks SEE: 100 Marks Prerequisites: keen to know about quality of image in visual medium.& concepts of lens aesthetics both in film emulsion & digital era and the behaviour of light through lens Course Objectives: 1. To Know the Various types of Lenses 2. To Understand the various Aesthetical image quality control through lenses 3. To identify behaviour of light inside the lens 4. To associate with the lighting techniques and aesthetics On successful completion of the course, the students will be able to attain CO CL Linked PO Teaching Course Outcome Hrs CO1 . List the various types of 06 1,2,3 photographic lenses U/R CO2 Understand the uses of Photographic 10 U/R/A 1,2,6,7,10 lenses in professional cinematography CO3 Know the Care & handling of the U/R/A 1,2,7,10 08 lenses CO4 Apprise the prominent impact of 12 1,2,3,6,7,10 Lighting during filming U/R/A C05 Understand the concept of angle and 10 U/R/A 1,2,36,7,10 coverage of lighting C06 Test the knowledge of lenses & their R/U/A 1,2,3,4,5,6,7,10 06 elements for exposure control Total sessions 52 Directorate of Technical Education Karnataka State 15CN31T Page 1 COURSE-PO ATTAINMENT MATRIX Course Programme Outcomes 1 2 3 4 5 6 7 8 9 10 EVOLUTION OF 3 3 3 3 3 3 3 3 3 3 PHOTOGRAPH Y Level 3- Highly Addressed, Level 2-Moderately Addressed, Level 1-Low Addressed.
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Whose Canon Is It Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by STORE - Staffordshire Online Repository Whose Canon is it Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution Mark McKenna According to figures from the British Film Institute (BFI), the UK has the second largest filmed entertainment market in the world, coming second only to the USA,1 worth an estimated £3.8 billion (2016, p. 2). How we choose to navigate the sheer volume of films available to us is significantly affected by the circulation of discourse, often related to its visibility, as well as notions of taste. Jonathan Rosenbaum suggests that we can observe a segmentation of the discourse surrounding film—where the mainstream, the industry and academia all reinforce and promote their own agendas (2000). Historically, early film criticism was concerned with legitimising these texts and their study, consequently attempting to align film analysis with that of broader historical approaches established in the analysis of the fine arts. These early valorisations about what might constitute the highest quality representations, and the subsequent forma- tion of the film studies discipline, led to the formation of the first canons. Paul Schrader argues that by definition, the film canon is ‘based upon criteria that transcend taste’ (2006, p. 34). Whether a film appeals to you personally or whether the film was hugely popular are inconsequential considerations, instead, every effort should be made to separate out ‘per- sonal favourites from those movies that artistically defined film history’ (ibid.). Within this separation lies what Janet Staiger has referred to as the ‘politics of inclusion and exclusion’, where ‘some films are moved to the center of attention; others, to the margins’ (1985, p.
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