This 40 module course has been divided into three major units -1. Film Language 2. Film Form and Style 3. Hindi cinema.
The unit of ‘Film Language’ will be dealing with the different languages of cinema like sound theory, colour as stylistic elements of cinema and many more.
In the unit of ‘Film Form and Style’, there will be discussion on different film movements, styles, forms and theories such as Italian Neorealism, French New Wave, German Expressionism, Third cinema, feminist film theory, Auteur theory etc.
The third unit, ‘Hindi Cinema’, is designed to explain the relationship between the nation and cinema with reference to the directors like Raj Kapoor, Guru Dutt, Mehboob Khan and so on. There will be lectures on the new wave of Indian cinema and the globalization of Indian cinema. Through this, students will be familiarized with the trajectory of the Indian Cinema from regional to national and ultimately to global platform
| Course Status : | Upcoming |
| Course Type : | Core |
| Language for course content : | English |
| Duration : | 10 weeks |
| Category : |
|
| Credit Points : | 4 |
| Level : | Undergraduate |
| Start Date : | 15 Jan 2026 |
| End Date : | 30 Apr 2026 |
| Enrollment Ends : | 28 Feb 2026 |
| Exam Date : | |
| Translation Languages : | English |
| NCrF Level : | 4.5 |
Week-1
1. Language of Cinema - An Introduction
2. Basic Components in Film Language - Shot, Scene, Sequence
3. Continuity Editing Part – I
4. Continuity Editing Part – II
Week-2
5. Mise-en-Scene
6. Mise-en-Scene & the Auteurs
7. Components of Film Sound
8. Sound and Image
Week-3
9. Theory of Film Sound
10. Sound and
Continuity
11. Coming of
Sound Part I
12. Coming of
Sound Part II
Week-4
13. Colour and
Meaning in Cinema
14. Approaches to
Film Genre
15. German Expressionism
16. Italian Neo Realism
Week-5
17. Aesthetic of Neo-Realism
18. French New Wave: Rewriting
Conventions
19. The Rise of Nouvelle Vague
20. Concept of Auteur
Week-6
21. Akira Kurosawa
22. Realism of Satyajit Ray: Apu
Trilogy
23. Realism of Satyajit Ray: Urban
Trilogy
24. Concept of Third Cinema
Week-7
25. Feminist Film Theories - Basic
Ideas
26. Types of
Non-Fiction Film: Part-I
27. Types of
Non-Fiction Film: Part-II
28. Historical Overview Studios in
India
29. Early Indian silent cinema
30. Studio Era & Talkies
31. Cinema of the 1940s
32. Mehboob khan
Week-9
33. Raj kapoor
34. Guru dutt
35. Shyam benegal
36. Kumar shahani
Week-10
37. Saeed Akhtar mirza
38. Mani Kaul
39. Bollywood diversity in narrative & form under
globalization
40. Reception studies Indian films and
media
1. Film
Language, Christian Metz, 1974
2. The
Language of Film, Robert Edger-Hunt, John Marland,
Steven Rawle, AVA Publishing, UK,
3. Narration
in Fiction Film, David Bordwell, Routledge, 1985
4. Vijay Mishra, Bollywood Cinema: A
Critical Genealogy,
Asian Studies Institute, 2008.
5. Lakshmi Srinivas, Communicating globalization:
Everyday life, imagination and the
persistence of the
local, 2002.
6. Sharmistha Acharya, BOLLYWOOD AND
GLOBALIZATION,
San Francisco State university, 2007
7. Shakuntala Rao, THE GLOBALIZATION OF
BOLLYWOOD:
AN ETHNOGRAPHY OF NON-ELITE .
AUDIENCES
IN INDIA, State University of New York,
Department
of Communication, Routledge, 2007.
8. Ashis Nandy, Indian Popular Cinema as a Slum’s Eye
View of Politics. The
Secret Politics of Our
Desires: Innocence, Culpability and Indian
Popular
Cinema, 1999.
Dr.
Jyotirmay Deb is an Assistant Professor in the Department
of BFA Digital Filmmaking & VFX at Techno India University, West
Bengal. He holds a Ph.D. in Humanities from the same institution and
an M.A. in Film Studies from West Bengal State University. His research
explores film aesthetics, media psychology, and the evolving relationship
between storytelling, technology, and audience behaviour.
With
over a decade of experience in media education and creative practice, Dr. Deb
has directed and written several documentaries and commercials, earning national
level awards and some international awards for documentary
filmmaking. Passionate about nurturing future filmmakers, he continues to
integrate academic rigor with cinematic creativity in both teaching and
research.
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