DFA - SRM University

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FFAACCUULLTTYY OOFF SSCCIIEENNCCEE && HHUUMMAANNIITTIIEESS

SSRRMM UUNNIIVVEERRSSIITTYY

No: 1, Jawaharlal Nehru Road, Vadapalani, Chennai – 600026.

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Ordinances, Regulations, Curriculum and Syllabi

((WWiitthh EEffffeecctt ffrroomm AAccaaddeemmiicc YYeeaarr 22001100 –– 22001111))

SSEEMMEESSTTEERRSS –– II && IIII

SSRRMM SSIIVVAAJJII

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FACULTY OF SCIENCE & HUMANITIES SRM UNIVERSITY

No: 1, Jawaharlal Nehru Road, (100 feet Road, Near – Vadapalani

Signal) (Formerly TCS Software Company Building),

Vadapalani, Chennai – 600026.

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SRM UNIVERSITY

DIPLOMA IN FILM ACTING (DFA)

Regulations

SEMESTER PATTERN

(Effective from the Academic Year 2010 – 2011)

1. AIM OF THE COURSE

Rationale: To assist the aspiring students /actors make the transition from

a lay person to an accomplished actor, before a medium called THE

CAMERA.

2. OBJECTIVE:

Students will understand both practical and artistic issues that must be

taken into consideration when acting for the camera – such as continuity

problems, hitting their mark, toning down their projection and displaying

scenic reality. They will determine their on – camera strengths and learn to

accentuate them. They will be trained with basic knowledge in film acting

particularly in core areas like improvisation, body language, mime,

movement, voice, speech and diction. At the end of course, the students

will be well versed in above – mentioned areas.

3. ELIGIBLITY FOR ADMISSION

Minimum Qualification for the candidates to be admitted in the course for

the Diploma in Film Acting shall be required to have passed the Higher

Secondary Examinations (Academic or Vocational stream, any group )

conducted by the Govt. of Tamilnadu or an Examination accepted as

equivalent, by the syndicate of S.R.M. University (or) Shall be required to

have passed 10+3 (S.L.L.C – Secondary School Leaving Certificate plus

three year Diploma in any stream conducted by State Governments of

India and Directorate of Technical Education respectively) or an

Examination accepted as equivalent, by the Syndicate of SRM University.

Since film acting is altogether a new course pertaining to creative and

technical aspects, candidates with a Diploma Certificate from a

Polytechnic can also be eligible for admission.

4. ELIGIBLITY FOR THE AWARD OF DIPLOMA

A candidate shall be eligible for the award of the Diploma only if he / she

has undergone the prescribed course of study in the University for a

period of not less than one academic year, passed the examination in all

the Two semesters, and within a maximum period of 3 years reckoned

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from the commencement of the first year to which the candidate was

admitted

A student shall be declared to be eligible for the award of the DFA

provided,

a) The student has successfully completed the course requirements and

had passed all the prescribed examinations in one year or within a

maximum period of 3 years reckoned from the commencement of the first

semester to which the candidate was admitted.

b) No disciplinary action is appending against the student.

5. COURSE DURATION (DFA)

The Duration of the course is one academic year, consisting of two

semesters.

a) A student admitted under regular system with Higher Secondary

Certificate is ordinarily expected to complete the Diploma in Film

Acting Programme in one Academic year but in any case not more

than 3 years after admission to the programme.

b) One academic year shall be divided into two semesters. An academic

year shall comprise of first and second semesters.

c) There shall be not less than 90 working days for each semester.

6. REQUIREMENTS FOR COMPLETION OF AN ACADEMIC YEAR

A candidate who has fulfilled the following conditions shall be deemed to

have satisfied the requirements for completion of an academic year.

a) He/She secures not less than 80% attendance in individual courses in that

year taking into account the total number of periods in the course offered

during that academic year. Condonation of attendance up to 10% for

students who represent the university in sports, games, cultural,

symposium, and other similar activities.

The above two relaxations either individually or jointly should not

exceed 10%, but it is applicable for every individual course.

b) He/She earns a progress certificate from the Head of the Institution for

having satisfactorily completed all the courses pertaining to the year, as

judged by internal assessment.

c) His /Her conduct has been satisfactory throughout the academic year.

a) Condonation should be applied for, through proper channel and should

be approved by the Vice – Chancellor.

b) A Candidate who is not permitted to appear for the University

Examinations due to lack of attendance requirements will have to reregister

and do the courses when they are offered subsequently.

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7. PASSING MIMIMUM

A candidate shall be declared to have passed in each paper /practical of

main subject of study wherever prescribed, if he/she secures NOT LESS

THAN 40% of the marks prescribed for the examination. He /She shall be

declared to have passed the whole examination, if he /she pass in all the

papers and practical in Internal and External separately.

8. CLASSIFICATION OF SUCCESSFUL CANDIDATES

a) Successful candidates passing the examination and securing the marks (1)

60 percent present and above and (ii) 50 percent and above but below, 60

percent in the aggregate shall be declared to have passed the examination

in the FIRST and SECOND class, respectively. All other successful

candidates shall be declared to have passed the examination in the

THIRD CLASS.

(b) Ranking

Candidates who pass all the examinations prescribed for the course in the

FIRST APPEARANCE ITSELF ALONE are eligible for Classification

/Ranking /Distinction.

9. EXAMINATION

The examinations will ordinarily be conducted during November and

April of each academic year. For all theory courses, question papers will

be set by external examiners and valued by one examiner.

All Practical Examinations will be conducted by internal and external

examiners appointed by the university.

The maximum marks for theory will be 100 comprising 25 marks for

internal assessment and 75 marks for the final examinations. And the

maximum marks for practical will be 100 Marks comprising 25 marks for

internal assessment and 75 marks fur the final practical examinations.

10 a) PROCEDUCES FOR AWARDING MARKS FOR INTERNAL

ASSESSEMENT (THEORY COURSES)

For regularity (Scoring 80% and above attendance) - 05 Marks

For two assignments (Equal weightage) - 10 Marks

For two tests to be conducted (Equal weightage) - 10 Marks

Total - 25 Marks

(PRACTICAL COURSES)

For regularity - 05 Marks

For satisfactory completion of all

Exercises prescribed for the course - 10 Marks

For model Examination at the end of the year - 10 Marks

Total - 25 Marks

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A candidate who secures not less than 40% of total marks prescribed for

any course shall be declared to have passed in the examination for that

course

If a candidate fails to secure a pass in a particular course, it is mandatory

that he/she register and reappear for the examination in that course during

the next year when examination is conducted in the course. He/she should

continue to register and reappear for the examination till he/she secures a

pass. However, the internal assessment marks obtained by the candidate in

the first attempt shall be retained and considered valid for all subsequent

attempts.

10 b) Scheme of Examination Theory (Maximum 100 Marks)

Part – A

To answer 5 questions 10 x 2 Marks = 20 Marks

(No choice)

Part – B

To Answer 5 questions 5 x 16 Marks = 80 Marks

Out of 10 Questions

Either or choice Total = 100 Marks

10 c) Scheme of Examination for Practical

The external examiner will conduct a viva on the particular subject along

with the practical/project record submissions from the students and marks

will be awarded accordingly.

11. Requirements for Proceeding to subsequent semester

(i) Candidates shall register their names for the first semester

Examination after the admission in the Course.

(ii) Candidates shall be permitted to proceed from the first semester to

the second semester irrespective of their failure in any of the subject in

the first semester examinations subject to the condition that the

candidates should register for all the arrear subjects of earlier semester

along with current semester subjects.

(iii) Candidates shall be eligible to go to subsequent semester, only if

they earn sufficient attendance as prescribed there for by the

Syndicate from time to time.

Provided in case of candidate earning less than 50% of attendance in

anyone of the semester due to any extraordinary circumstances such

as medical grounds, such candidates who shall produce medical

certificate issued by the authorized medical attendant (AMA), duly

certified by the Dean of the college, shall be permitted to proceed to

the next semester and to complete the course of study. Such

candidates shall have to repeat the missed semester by rejoining after

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completion of final semester of the course, after paying th fee for the

break of study as prescribed by the University from time to time.

12. TEMPORARY BREAK OF STUDY FROM A PROGRAMME.

a) Candidate is not normally permitted to temporarily break the study.

However if a candidate intends to temporarily discontinue the programme

in the middle for valid reasons (such as accident or hospitalization due to

prolonged ill health) and to rejoin the programme in a later year he/she shall

apply to the Head of the Institution in advance but not later than the last

date for registering for the final examinations of the year in question. Such

applications should be routed through the Head of the department and the

head of the Institution, stating the reasons for break of study.

b) The candidate permitted to rejoin the programme after the break shall be

governedy the rules and regulations in force at the time of rejoining.

c) The duration specified for passing all the courses for the purpose of

classification vide (clause 3) shall be increased by the period of such break of

study permitted.

d) The total period for completion of the programme reckoned from, the

commencement of the first semester to which the candidate was admitted

shall not exceed the maximum period specified in clause 5 irrespective of

the period of break of study in order that he/she may be eligible for the

award of the degree (vide clause 4).

e) If any student is detained for want of requisite attendance, progress and

good conduct, the period spent in that semester shall not be considered as

permitted ‘Break of Study’ and clause 10 is not applicable for this case.

13. DISCIPLINE

Every student is required to observe discipline and decorous behavior both

inside and outside the college and not to indulge in any activity which will

tend to bring down the prestige of the University / College. Boys & Girls

should wear decent dresses.

14. REVISON OF REGULATION AND CURRICULUM The University may

from time to time revise, amend or change the regulations, scheme of

examinations and syllabi as found necessary.

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SYLLABUS FOR DIPLOMA IN FILM ACTING

Ist SEMESTER

THEORY

SL.NO SUBJECT

CODE:

NAME OF THE PAPER

THEORY /

PRACTICAL

MARKS

1. DFA101 HISTORY OF CINEMA THEORY 100

2. DFA102 INDIAN ART AND CULTURE THEORY 100

3. DFA103 ACTING ANALYSIS – I THEORY 100

PRACTICALS

1. DFA201 IMPROVISATION - I PRACTICAL

100

2. DFA202 SPEECH AND DICTION PRACTICAL 100

3. DFA203 BODY LANGUAGE – I PRACTICAL 100

4. DFA204 MIME & MOVEMENT PRACTICAL 100

5. DFA205 VOICE TRAINING PRACTICAL 100

6. DFA206 SCENE PRACTICALS – I PRACTICAL 100

7. DFA207A DANCE PRACTICALS – I PRACTICAL 100

8. DFA208A STUNT PRACTICALS – I PRACTICAL 100

9. DFA210A YOGA AND MEDITATION – 1 PRACTICAL 100

10.

DFA223 IMAGINATION AND

TRANSFORMATION

PRACTICAL

100

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HISTORY OF CINEMA

FIRST YEAR - FIRST SEMESTER

SUBJECT CODE (DFA101)

UNIT 1: WORLD CINEMA

Introduction to Cinema – ‘Persistence of Vision’ – ‚Willing suspension of

disbelief‛ – origins: Puppetry / Leather puppetry – Magic lantern – still camera

– zoetrope – Edward Muybridge’s experiment with a horse and a row of still

cameras – celluloid film – strip / zoetrope pasted with celluloid prints – Types of

films and analysis.

UNIT 2:

Thomas Alwa Edison – invention of kinetoscope and Nickelodeon – Dickson’s

movie camera – projection of movies by Lumiere Bros on 28-12-1895 – Early

silent films by Georges Melies and Edwin S Porter – D.W. Griffith and

development of silent films in USA – Silent films of other countries: Soviet

montage – German expressionist films – French impressionist films –

Surrealistic films by Louis Bunuel – Arrival of colour – Introduction of sound in

Film Technology.

UNIT 3:

Evolution of Technique and Aesthetic development of Cinema – Special

Reference to: V.I Pudovkin and Einsenstein – Vittorio de sica - Fredrico Fellini –

Roman Polanski – Francois Truffaut – Jean Luc godard – R.W. Fassbinder -

Ingmar Bergman – David Lean – Fritz Lang – Alfred Hitchcock – Charlie

Chaplin – Akira Kurosawa - Studio system – Hollywood city – Oscar awards –

International Film festivals and awards.

UNIT 4: INDIAN CINEMA

Introduction to Indian Cinema – ‘Silent Era’ – H.S. Bhatvadekar, R.J. Torney,

Pundalik and D.G. Phalke - South India: Nataraja Mudaliar - Early pioneers

with reference to D.G. Phalke – V Shantaram – Dhiren Ganguly – Chandulal

Shaw – Debaki Bose – Bimal Roy - Guru Dutt. Indian Cinematographic

Committee 1927 – The period of transition 1931 parallel cinema: Satyajit Ray,

Ritwik Ghatak, Mrinal Sen, Aravindan, Adoor Gopalakrishnan, G.V. Iyer,

Girish Karnad, Shyam Benegal and Girish Kasaravalli. Study of Film – National

Film Archives of India – National Film Development Corporation (NFDC) –

Censor Board in India (Central Board of Film Certification) The major cinema

studios in North: Bombay Talkies - New Theatres – Prabhat. The major studios

in South: Modern Theatres – Gemini – AVM – Vijaya Vahuni. Star System and

Politics: Reference to Raj Kapoor, Amitabh Bachan, Dilip Kumar, Raj Kumar,

Prem Nazir, M. G. Ramachandran, Sivaji Ganesan, N.T. Rama Rao, J. Jayalalitha

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UNIT 5: TAMIL CINEMA

Development of Talkies in Tamil: Kalidas (1931) – Films replicated the world

of commercial Drama with innumerable songs – Mythologicals, Socials and

Films on Freedom struggle – Predominance of Dialogue: Elangovan and

Karunanidhi – Stars in Tamil Cinema: Thiyagaraja Bhagavathar – P.U.

Chinnappa – N.S. Krishnan – Sivaji Ganesan – M.G. Ramachandran –

M.R.Radha – S.V.Ranga Rao – S.V.Subbiah – T.S.Baliah – T.R.Ramachandran

- Chandrababu – Rajnikanth – Kamal Hassan – Nagesh – Manorama –

Trend makers in Tamil cinema: K Subramaniam – Krishnan Panju – C.V.

Sreedhar – Bhim Singh – B.R. Pantulu – A.P. Nagarajan – K. Balachander – J.

Mahendran – Bharati Raja – Mani Ratnam and Contemporary Directors.

Attempts at middle cinema vis-à-vis commercial cinema – World market of

Tamil cinema

REFERENCE BOOKS:

The Development of Film – Alan Casty

The great film Directors – Focal Press

Indian Films – Eric Burnow and Krishnaswamy

70 years of Indian Cinema – Ramachandran

Tamil Cinemavin Kathai – Aranthai Narayanan

Message Bearers – Theodore Bhaskaran

Encyclopedia of Indian Cinema – Ashish Rajadhyaksha &

Paul Willemen (Oxford)

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INDIAN ART AND CULTURE FIRST YEAR - FIRST SEMESTER

SUBJECT CODE: (DFA 102)

UNIT: 1

a) Indian Aesthetics

b) Spiritual and philosophical background of Indian Art

c) Theory of Rasa

d) Rasa in relation of Music, Painting and Dance

e) The inter – relationship of the Arts

UNIT : 2

a) Brief introduction to Indian Architecture and Sculpture

b) Indus valley civilization

c) Buddhist Architecture: Nalanda and Sanchi

d) Hindu and Jain Architecture

e) Elephanta, Ajanta and Ellora (Maha), Mount Abu (Raj)

f) Konark (Orissa), Khajurao (MP) Halebid (Kar)

g) Pallava Architecture: Mahabalaipuram

h) Chola Architecture and Sculpture: Brahadeeswara Temple

i) Chidambaram Temple: The Cosmic dance of Siva

j) Kerala Architecture

k) Islamic Architecture: Humayun’s Tomb, Fatehpur Sikri,

Taj Mahal, Gol Gumbaz (Kar)

l) European Architecture : Chennai, Kolkatta, Mumbai and Goa

m) Post – Independence Architecture

UNIT: 3

a) A brief introduction to Indian Music – Folk, Tamil Music and Carnatic

Music.

b) Indian Music Vs Western Music

c) Hindustani Music : Amir Khan, Ghulam Ali Khan, Kumar Gandharva,

Kishori Amonkar, Bhimsain Joshi, Ravi Shankar, Hari Prasad Chourasia etc.

d) Carnatic Music: M.S. Subbulakshmi, Ariakkudi, Chembai, GNB, main Iyer,

MD Ramanathan, D.K. Jayaraman, mdurai Somu, Balamurali Krishna etc.

e) Instrumental music : Violin, Sitar, Veena, Flute, Nadaswaram etc

f) Rhythmic instruments : Mirudangam, Tabla, Chenda, parai, etc

g) Film music: past to Present – Contributions of Naushad, S.D.Burman,

M.S.Viswanathan, Salil Choudhry, Ilaya Raja, A.R.Rahman and others.

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UNIT: 4

a. Indian Theatre – Tradition and Modern

b. Kalidasa Modern Theatre: Contributions of Alkazi Habib Tanwir, Ratan

Thiyam,

c. Girish karnad, Vijay Tendulkar, Jabbar patel Koothu Pattarai Main

elements of

d. Theatre: Style of Acting, Costumes, Stage Design, Music, Light and

Sound.

UNIT: 5

a. Indian classical Dance Forms: Kathak, Bharathanatyam, Odyssey,

b. Manipuri, Mohiniattam, Kuchipudi etc.

c. Brief introduction to Folk and tribal dance forms

d. Brief introduction to Traditional and modern painting

e. Ajanta, Ellora,Rajaputana, Chithannavasal etc.

f. Modern painters : Jamini Roy, J.Swaminathan, M.F.Hussain Ara,

K.M.Panicker, Adimoolam etc.

REFERENCE BOOKS:

1. Classical Indian Dance in Literature and the Arts – Kapila Vatsyayan

2. Art of India – Prehistory to the Present – Frederick M.Asher, Britannica

3. Encyclopedia of India – Vol. I. Britannica

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ACTING ANALYSIS – I



OBJECTIVE:

After the screening of a film, students must be able analyse the acting. And also evaluate the overall narrative functions of the film. Each students is expected to explore the body of film work of an actor and finding moments that will best exemplify the techniques of acting. This has to be discussed in a class. One can be a capable actor and one can not be a capable actor. It works best when you split up films to watch and get together to share and discuss what makes a moment great, mediocre, or just ineffective.

UNIT – I

Films as a medium of communication – Intra-personal communication, inter – personal communication, Group communication, Mass communication SMCR Method.

UNIT – II

Theatre performance vs screen acting – Understanding of (a) Film form, (b) Shot break down (c) and framing.

UNIT – III

Study of characters, body language, Character traits, gestures, facial expression and Emotions.

UNIT – IV

Theory of continuity. Understanding space and time. Action continuity, dialogue continuity. Costume continuity, Make – up continuity and Emotion continuity.

METHODOLOGY:

The following films which have won awards for best performances from all over world will be screed weekly and after the screening students will have to submit assignments on the above mentioned aspects. The internal assessment of the students will be based on their assignment submissions.

1. The Bridge on the River Kwai – 1957 for Alec Guinness.

2. Ben – Hur – 1959 for Charlton Heston

3. To kill a Mockingbird – 1962 for Gregory Peck

4. Forest Gump – 1994 for Tom Hanks

5. A Beautiful Mind – 2001 for Russell Crowe

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6. The Last King of Scotland – 2006 for Forest Whitaker

7. Veera Pandiya Kattabomman – 1959 for Sivaji Ganesan

8. Moondram Pirai – 1983 for Kamal Hasan.

9. Vadakkan Veera Katha – 1989 for Mamooty

10. Best Actor Oscar/National award winning film of the year.

REFERENCE BOOKS:

1. Film art an introduction – By David Bordwell and Kirstin Thomson, Macgraw Hill publications – 1996.

2. Acting for the camera – Tony Barr, Harper perennial – 1997. 3. Acting in Film – Michael Caine, Applause - 1997.

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PRACTICAL - 1

IMPROVISATION – I



OBJECTVIE:

To make the body and mind of a student to be more flexible of a given

character. Behave as a character. To shun the inner inhibitions and become

more explicit.

1. Understanding the importance of involving one self as a given character

2. How to cooperate with the co-performers – Acting together.

3. Cultivation of action and reactions

4. Understanding the overall script pattern

5. Types of improvisation

i. Solo improvisation

ii. Vistor’s improvisation

iii. Half – script improvisation

iv. Full – script improvisation

v. Guided improvisation

RFERENCE BOOKS:

1. ‚An actor prepares‛ by Stanislavski, Routledge, - 1989.

2. ‚Acting for the camera‛ by Tony barr

3. ‚Film Acting‛ by Cathy Hasse.

4. Secrets of Screen Acting by Patrick Tucker, Routledge – 1994.

5. A practical hand book for the Actor by Melissa Bruder, Random

House – 1986.

6. Improvisation by Hodgson and Richards.

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PRACTICAL - 2

SPEECH AND DICTION



OBJECTIVE:

To improve and enhance the quality of voice, speech, diction,

pronunciation, Modulation and Emotion.

1. Understanding the meaning of text and sub text and tonal values

2. Understanding the character traits by the given diction.

3. Practice of diction, pronunciation, Modulation, stress and pause and

timing sense.

4. A study of Monologues and study of Dialogues.

5. A study of theory of Emotions and physiology of Emotions. How to

manipulate Emotions in a right way to speech and Diction.

REFERENCE BOOKS:

1. ‚Acting is Everything‛ ‚An Actor’s Guide book for a successful

career‛ – By Judy Kerr, September publishing – 2003.

2. Acting for camera by Tony Barr, Harper perennial – 1997.

3. Auditioning – Joanna Merlin by Vintage publications – 2001.

4. The secrets to Auditioning for commercials, by Iris Acker,

Distinctive publishing – 1991.

5. A Guide to practical speech Training by Gordon Luck.

6. Voice and the Actor by Cicely Berry.

7. Voice and speech in the Theatre by J.Clifford Turner.

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PRACTICAL - 3

BODY LANGUAGE - I FIRST YEAR - FIRST SEMESTER


OBJECTIVE:

Understanding the importance of non –verbal communication, the

applications and its place in acting.

1. Communicating through facial expression body gestures and

postures.

2. Understanding bodily movements of a given character.

3. Breathing Exercises with Emotions.

4. Application and Expression of nine basic Emotions through bodily

movements. Emotional freeze practice.

5. Comparative study of Animal behavior with that of human and its

application in Acting.

REFERENCE BOOKS:

1. ‚The Business of Acting‛ by Brad Lemack, Ingenuity press – 2002.

2. Body Language by Thomson Dick.

3. The Definitive Book of Body Language by Barbara Pease and Allan

Pease.

4. What Every Body is saying by Joe Navarro and Marvin Karlins.

5. You can Read any one by David J. Lieberman.

20

PRACTICAL - 4

MIME AND MOVEMENT



OBJECTIVE:

To make the students understand the importance of mime and movement

in Acting. Application of mimical gestures in front of camera and gaining

Rhythmic sense through movement.

1. Practice of Imagination. Visualization and mimecal techniques for

acting in front of camera.

2. How to use the eye movements in front of the camera.

3. How to act and react for the camera imagining it as the co-artiste.

4. In movement class, the student will first understand the sense of

instrumental music, its rhythm and mood.

5. Tuning of body movements (Gestures and postures) according to

instrumental music.

6. Practice of performing a story with intro – conflict – resolution and

with synchronizing it with an instrumental music.

REFERENCE BOOKS:

1. The Mime Book by Claude Kipnis.

2. The Actor and His Body by Litz Pisk.

3. The Adam Darius Method by Adam Darius.

4. Design for Movement by Lynn Oxenford.

5. The Alexander Technique by Liz Hodkinson.

21

PRACTICAL - 5

VOICE TRAINING



OBJECTIVE:

To impart knowledge about the strength of vocal chords to an actor. The

knowledge of Dubbing, Dialogue delivery, the practice of Emotional

continuity and discontinuity during dubbing.

1. Practice of training the voice of an actor from five places of human

body ( Head, Abdomen, Chest, Throat, Nasal and Lips )

2. Practicing the voice of an actor with nine emotions.

3. Different types of breathing exercises for voice culture.

4. Practice of lip synchronization, Emotional continuity and

discontinuity during dubbing.

REFERENCE BOOKS:

1. Vocal Expression: A class Book of Voice Training and interpretation by

Katherine Jewell Everts.

2. Complete Hand Book of Voice Training by Richard Alderson.

3. Singer’s Hand Book: A total vocal workout in one hour or less by Anne

Peckham.

4. Set your voice free: How to get the singing or speaking voice you want

by Rogor Love and Donna Frazier.

22

PRACTICAL - 6

SCENE PRACTICALS – I



OBJECTIVE:

To make the students understanding the importance of acting for a script,

in a scene and in a sequence. How to act and react. To learn the nuances

of Actor’s Business.

1. To make the students understand the given situation, study of character

and characterization, dialogues and emotions.

2. Understanding the coordination of acting with fellow actors.

3. How to use mannerisms and Gimmick effectively.

4. Understanding the usage of gestures, postures and voice modulation in

scene practicals.

5. How to perform self consciously of the given character with its character

traits.

REFERENCE BOOKS:

1. Building a Character by Konstanin Stanislavski.

2. Creating a Role by Konstanin Stanislavski.

3. Desperate to Act by Anna Scher.

4. So you want to be an Actor by Adrian Rendle.

5. Being an Actor by Simon Callow.

6. To the Actor by Michael Chekov.

7. Complete About Acting by Peter Bark Worth.

23

PRACTICAL - 7

DANCE PRACTICALS – I


SUBJECT CODE: (DFA 207A)

OBJECTIVE:

To make the Acting students learn about the advantages of dance:

a) It would be easier to act, to show reactions and expressions.

b) It would help keep the body fit enough to dance/act.

c) Dance will help in developing body language while acting.

UNIT – I - BHARATHANATYAM

Daily Exercises – Daily practice about ‘ADAVUS’ (Leg-movements) –

Dancing to the ‘JATHI’ music

UNIT – II – FOLK – DANCES

Different types of Folk - Dances – learning the Basic steps, timing,

composition of movements to suit the back ground music (piece – by -

piece)

UNIT – III – WESTERN DANCE

Learning the basic steps, different types of dances - Rock, RAP and HIP –

HOPS. Dancing to suit the pre-recorded back – ground – music and

learning the timing.

UNIT – IV – CINE DANCE

Practicing the ‘timing’, leg - movement, facial expressions, body –

movements, steps to suit the camera position, angle and its movements,

exercises to dance according to background sets and locations.

24

Methodology:

A dance master (choreographer) will be visiting every week to train the

students and demonstrate as to how to dance while shooting. He will

correct the mistakes of the students on projection of practice sessions shot

by video camera.

Reference Books:

1. Indian Classical Dance. Kapila Vatsyayan.

2. Natyasastra: English Translation With Critical Notes. Adya Rangacharya.

3. Indian Classical Dancing: The Therapeutic Advantages. Kanaka

Sudhakar.

25

PRACTICAL - 8

STUNT PRACTICALS – I



OBJECTIVE:

To make the students understand the importance of training in stunts

that would help in their acting career.

Unit – I

Physical exercises – Different types of flexible exercises

Unit – II

Leg movements and kicks - Hand movements and punches.

Unit – III

Performances for stunt – Actions and reactions

Unit – IV

Solo fights -actions and reactions

Unit – V

Group fights and other types of fights

Methodology:

A stunt master will be visiting every week to train the students. At the

later stage of the semester, the choreographed fight sequences by the

stunt master for the students will be shot in video camera. It will be later

projected on screen for any corrections.

References Books:

1. Fight Choreography: The Art of Non-Verbal Dialogue by John Kreng

2. The Battle of Brazil: Terry Gilliam v. Universal Pictures in the Fight to the

Final Cut (The Applause Screenplay Series) by Jack Mathews

3. Fight the Power! The Spike Lee Reader by Janice D. Hamlet and Robin

R. Means Coleman

26

PRACTICAL - 9

YOGA & MEDITATION – I



OBJECTIVE:

To make the students understand the importance of controlling the mind

and body through yoga and meditation.

1) Practicing Yoga will make the acting students gain the flexibility of

attaining different types of gestures and postures.

2) Practicing meditation will help the acting students to control the

emotions in a desired way.

UNIT – I - YOGA MUDHRA:

Students will be trained to practice in this ‘Mudhra’ by sitting in a (Lotus)

posture, so that their nervous system will be strengthened.

UNIT – II ‘MATSYA ASANA’:

(Fish - posture) Students will be trained to practice this ‘posture’, so that

it will help them to over home complaints like Diabetics, Aasthma and

will not have any pain in their back and neck.

UNIT – III ‘BHUJANGASANA’

Students will be trained to practice in this ‘Posture’, so that their vertebra

column will be strengthened and they will be free from Thyroid mal-

functioning and back pain.

UNIT – IV ‘SALABASANAM’

Students will be trained to practice in this ‘posture’. So that they will be

free from constipation and their kidneys and hip muscles will be

strengthened.

27

UNIT – V – ‘DHYANA’ - (Meditation)

Students will be trained in the advanced ‘Dhyana’ method called

‘humming’ (breathing exercise resembling the ‘humming of insects’.) So

that they can improve their memory – and blood – circulation power and

will be free from ‘migraine’ head-ache, tension, sleeplessness etc.

METHODOLOGY:

A specialist Yoga teacher would teach Yoga and meditation to the

students two hours per week.

REFERENCE BOOKS:

1) Light on Pranayama by B.K.S. Iyengar

2) The complete Yoga book: Yoga of breathing, Yoga of posture, by James

Hewitt

3) The American Yoga Association’s Beginner’s manual by Alice

Christensen

28

PRACTICAL - 10 IMAGINATION AND TRANSFORMATION

FIRST YEAR – FIRST SEMESTER


OBJECTIVE:

To make the student observe the day-to-day characters, retaining its

qualities, cultivating the habit of imagination and then transforming it into a given

character.

1. Practice of observation.

2. Practice of Imitation

3. Cultivating the habit of Imagination

4. Practice of transforming into a given character with the help of sense

perception.

5. How to use effectively about all the elements mentioned above to

give life to a new character in shooting practicals.

Reference Books:

1. ‚An actor prepares‛ by Stainislavski, Routledge – 1989.

2. ‚Acting is Everything‛ ‚An Actor’s guide book for a successful career‛ – by

Judy Kerr, September publishing – 2003.

3. ‚Desperate to Act‛ by Anna Scher.

4. ‚To be actor on the technique of Acting‛ by Michael Chekhov.

29

SYLLABUS FOR DIPLOMA IN FILM ACTING

2nd SEMESTER

THEORY

SL.NO SUBJECT

CODE:

NAME OF THE PAPER THEORY /

PRACTICAL

MARKS

1.

DFA104A FILM AS AN ART THEORY 100

2.

DFA105 ORIENTATION AND

ACTING THEORIES

THEORY 100

3.

DFA106 ACTING ANALYSIS – II THEORY 100

PRACTICALS

1.

DFA211A

IMPROVISATION - II

PRACTICAL

100

2.

DFA212A

SCENE PRACTICALS – II

PRACTICAL

100

3.

DFA213A

BODY LANGUAGE – II

PRACTICAL

100

4.

DFA216 DANCE PRACTICALS - II

PRACTICAL

100

5. DFA217 STUNT PRACTICALS - II

PRACTICAL 100

6. DFA218 MAKE-UP

PRACTICAL 100

7. DFA219 COSTUME

PRACTICAL 100

8. DFA 220 YOGA & MEDITATION – II

PRACTICAL 100

9. DFA 221 VIDEO PRACTICALS

PRACTICAL 100

10.

DFA222

MIME AND MOVEMENT-II

PRACTICAL

100

30

FILM AS AN ART

FIRST YEAR – II SEMESTER

SUBJECT CODE (DFA104A)

UNIT : I

The work of film production, Technical factors in film production, social

factors in film production, after production: Distribution and exhibition.

UNIT: II

The shot: Mise-en-scene – Realism, the power of Mise-en-scene, Aspects of

Mise-en-scene, space and time, narrative functions of mise-en-scene.

UNIT : III

The shot: Cinematographic properties, the photographic image, framing,

duration of the image, montage and long take.

UNIT: IV

The Relation of shot to shot: Editing, dimensions of film editing, continuity

editing, alternative to continuity editing.

UNIT : V

SOUND IN CINEMA: The powers of sound, fundamentals of film sound,

dimensions of film sound, and functions of film sound.

Reference Books:

1. Film Art: An Indroduction: David Bordwell, Kristin Thomson, Prentice

Hall of India (p) Ltd, New Delhi, 1985.

2. Film as an Art: Rudolf Arnheim, University of California press, 1966.

3. The concepts in film theory: Dudley Andrews, Oxford University press,

New York, 1984.

31

ORIENTATION AND ACTING THEORIES

FIRST YEAR - SECOND SEMESTER


UNIT-1

Acting Definition, Origin and Development of Acting, Allied forms of

Acting, Styles of Acting (Classical, Romantic, Realistic, Non-Realistic,

natural, Experimental and Personal Styles)

UNIT-2

Tholkappiar’s-Tholkappiam and BharathaMunis-‚Natya-Sastra‛ on

Acting, Stanislavski Method Acting, Stras-berg Method Acting,

Mayorhold Bio-Mechanics, Bretolt Brecht- Alienation Method (Epic

Theatre) Stage and Film Acting.

UNIT-3

Exercises for an Artist Observation, Concentration, Imagination,

Imitation, Mental, Vocal, Physical Exercises, Improvisation, Mime

Transformation, Scene Practicals, Dance, Stunt, Yoga, Horse Riding,

Swimming etc.

UNIT-4

Relationship between an Artiste and other technicians in the film, Get

light and Act Continuity Maintenance, Understanding Camera / Mike

Positions and Act, Dubbing Understanding co-artist performance and

reacts, Text-sub-text, Five Element Dialogue and its inner meaning, Magic

‘If’, Tragedy, Comedy, Melodrama Farce, Burlesque, Physiological,

Sociological, Psychological Behavior, Star and Artiste.

UNIT-5

i. Direction:

Script, Synopsis, Scenario Treatment, Dialogue, Script Discussion,

Charactors -Actors, Sequences, Scenes, Breakdown of scenes as per the

locations and artistes, Responsibilities of the film director, Film as the

medium of the director

ii. Cinematography:

32

Still / Movie camera Lenses, Filters, Various types of shots,

Camera movements and Basic knowledge of Film processing.

iii. Sound:

Types of recording, Direct / indirect, Effects, dubbing, Sound

recording and Re-Recording

iv. Editing:

Procedure of Film editing cuts, Optical, Graphics, Creative Editing

REFERENCE BOOKS:

6. ‚Film Technique and film acting‛ by Pudovkin Vsevold.

7. ‚Sanskrit drama‛ by Deshpande.

8. ‚Indian drama‛ by Sunit kumar Chatterji.

9. ‚Tamil drama‛ by V.C. Gapalarathinam.

10. ‚An Actor prepares‛ by Stanislavski.

11. ‚Building a character‛ by Stanislavski.

12. ‚Creating a role‛ by Stanislavski.

13. ‚The Art of film Acting‛ by Jeremiahcomey.

14. ‚Film and the Director‛ by Don Livingston.

33

ACTING ANALYSIS – II



OBJECTIVE:

From the continuation of first semester, every week there will be

screening of a film In the second semester and students should be able to

analyse the acting in the following ways:

UNIT – I

Detailed study of shot break down and behaving according to it.

UNIT – II

Actor’s business – on the sets with props and hand props.

UNIT – III

Study of character development. Psychological analysis of a character –

History of character.

UNIT – IV

Study of Emotions and its shot – wise development.

UNIT – V

Expression of personal opinion about the character (If it is good why I

and if it is bad. Why?)

METHODOLOGY:

The following films which have won awards for best performances from all over world will be screened weekly and after the screening students will have to submit assignments on the above mentioned aspects. The internal assessment of the students will be based on their assignment susmissions.

1. The God Father – 1972 for Marlon Brando

2. One flew over the Cukoo’s Nest – 1975 for Jack Nicholson

34

3. Raging Bull – 1980 for Robert De Niro.

4. Rain Man – 1988 for Dustin Hoffman

5. My left foot – 1989 for Daniel Day – Lewis

6. The Painist – 2002 for Adrien Brody

7. Milk – 2008 for Sean Penn

8. Pitha Magan – 2006 for Vikram

9. Bharatham – 1991 for Mohanlal

10. Best Actor/ Oscar/ National award winning film for the year.

REFERENCE BOOKS:

1. ‚The Business of Acting‛ by Brad Lemack. Ingenuity press – 2002.

2. ‚Acting for camera‛ by Tony Barr, Harper Perennial – 1997.

3. ‚An actor prepares‛ by Stanislavski, Routledge – 1989.

4. ‚Acting in film‛ – Michael Caine, Applause – 1997.

35

PRACTICAL - 2

SCENE PRACTICALS – II


SUBJECT CODE: (DFA212A)

OBJECTIVE:

In continuation of first semester, the students will learn how to perform in

front of the

camera for a given scene.

1. Study of various shots and studying how to perform for each of it.

2. Practice of entry / exit for the camera.

3. Study of eye look and maintenance.

4. Study of action continuity, emotion continuity, voice level continuity and

costume & make-up continuity.

5. Dubbing exercises.

REFERENCE BOOKS:

1. ‚Creating a Role‛ by Konstantin Stanislavski.

2. ‚Acting for the camera‛ by Tony Barr.

3. ‚Film Acting‛ by Cathy Hasse.

4. ‚Building a Character‛ by Konstantin Stanislavski.

5. ‚Complete About Acting‛ by Peter Bark Worth.

6. ‚My life in Art‛ by Konstantin Stanislavski.

36

PRACTICAL - 3

BODY LANGUAGE – II


SUBJECT CODE: (DFA213A)

OBJECTIVE:

Understanding the nuances of body language in-depth.

1. Application of Gimmick and Mannerism for a given character.

2. Different styles of walking with different emotions.

3. Practice of Breathing Exercises.

4. Coordination of hand movements while acting.

5. How to use objects effectively while acting.

REFERENCE BOOKS:

1. ‚Body language‛ by Thomson Dick.

2. ‚The Business of Acting‛ by Brad Lemack, Ingenuity press – 2002.

3. ‚The Definitive Book of Body Language‛ by Barbara Pease and Allan

Pease.

4. ‚What Every Body is Saying‛ by Joe Navarro and Marvin Karlins.

5. ‚You can Read any one‛ by David J. Lieberman.

6. ‚On Screen acting‛ by Dmytryk.

7. ‚Acting for film and Television‛ by D.L.White.

37

PRACTICAL - 4

DANCE PRACTICALS - II


SUBJECT CODE: (DFA216)

OBJECTIVE:

To make the students learn about the advanced – stages of different

dance forms and preparing them suitable for the popular film-making.

UNIT – I - BHARATHANATYAM

Learning to dance with expressions non-stop for a full song, with Timing

and Rhythm.

UNIT – II – FOLK – DANCES

Learning to dance to suit the song – Learning to dance in groups with self

– improvised steps.

UNIT – III – WESTERN – DANCE

Learning to dance for full songs or only for the music – whatever may be

the style of dance (Rock, Rap, Hip-Hop etc.,)

UNIT – IV

Learning the steps to suit the songs – Learning about camera – angle and

positions, cut – shots, zoom – shots, close – shots, mid-shots and long –

shots – Learning to dance for full – song (non - stop).

UNIT – V

Learning about dress – sense, costumes and make – up Each and every

student has to dance all the styles.

Methodology:

A dance master will be visiting every week to teach the subject and

demonstrate as to how to dance while shooting. He will correct the

mistakes of the students on projection of practice sessions shot by video,

camera.

References Books:

1. Indian Dances: History And Development. Ram Avtar Vir.

2. Natya Sastra Of Bharatamuni: Translated Into English By A Board Of

Scholars.

3. Dances Of Asia. Kiitsu Sakakibara.

38

PRACTICAL - 5

STUNT PRACTICALS - II



OBJECTIVE:

To make the students understand and train in the advanced levels of film,

stunts that would help in their acting career.

Unit – I

Rollings and fallings – Different methods.

Unit – II

Advanced solo fights and fallings

Unit – III

Weapon fights – using different weapons

Unit – IV

Rope works

Unit – V

Final fight sequence

Methodology:

A stunt – master will be visiting every week to train the students in the

advanced - levels of film-stunts. At the later stage of the semester, the

choreographed fight sequences by the stunt master for the students will

be shot in video camera. It will be later projected on screen for any

corrections.

References Books:

1. In a Door, into a Fight, Out a Door, into a Chase: Moviemaking

Remembered by the Guy at the Door by Williamn Witney

2. Stage Combat: Fisticuffs, Stunts, and Swordplay for Theater and Film by

Jenn Zuko Boughn

3. Stunt Man: The Autobiography of Yakima Canutt With Oliver Drake by

Yakima Canutt and Oliver Drake

4. The Stunt Man by Paul Brodeur

39

PRACTICAL - 6

MAKE-UP



OBJECTIVE:

To make the students understand the importance and make-up and how

it plays an integral part in shaping up the given character.

Unit 1 Flash Back : Tracing history of make up

Since 1920

Unit 2 Mirror Image : Study of Face Structure.

Unit 3 Dimensions: Contouring and shading

Unit 4 Illusions: Camouflage make up

Unit 5 Foundations: Basic Make up

Unit 6 Light,Camera & action Camera &light angle in make up

Unit 7 Prism….. Theme of Colour in make up

Unit 8 Looks.. Character make up

Unit 9 Projections Theatre Make up

Unit10 Dreams Fantasy make up

REFERENCE BOOKS:

1. ‚Complete guide to special effects, Make-up and conceptual Art work‛

by Graphic Sha.

2. ‚Special Makeup effects for stage and screen acting and applying

prosthetics‛ by Debreceni Todd.

3. ‚Period Make-up for stage and screen‛ by Hall Kit.

4. ‚Period Hair styles for studio stage and screen‛ - by Spencer Kit.

40

5. ‚Costume and Make-up - Phaidon Theater Manuals‛ by Michael Holt.

6. ‚The Mask Hand book, a practical guide‛ by Taby Wilsher.

7. ‚Theatrical costume, Masks, Make-up and wigs - A Bibliography and

Iconography‛ by Sidney Jackson Jowers.

8. ‚Complete guide to special effects, Make-up and conceptual Art work‛

by Graphic Sha.

9. ‚Mode in costume - A Historical survey with 202 plates‛ by Wilcox R.

Turner.

41

PRACTICAL - 7

COSTUME



OBJECTIVE:

To make the students understand the importance of costume and how it

plays an integral part in shaping up the given character.

UNIT - I

Practice of observing the day-to-day characters and its costumes and

submitting it as an assignment to the class teacher.

UNIT - II

Study of costumes according to the cultures, traditions and various periods.

UNIT - III

Study of color sense in costumes.

METHODOLOGY:

Films which have won awards for costumes will be screened periodically.

After the screening, students will have threadbare discussions in the class

with the lecturer concerned.

42

REFERENCE BOOKS:

1. ‚Costume and Make-up - Phaidon Theater Manuals‛ by Michael Holt.

2. ‚The Mask Hand book, a practical guide‛ by Taby Wilsher.

3. ‚Theatrical costume, Masks, Make-up and wigs - A Bibliography and

Iconography‛ by Sidney Jackson Jowers.

4. ‚Mode in costume - A Historical survey with 202 plates‛ by

Wilcox R. Turner.

5. ‚Costume Designer hand book - a complete guide for Amateur and

professional costume Designer‛ 2nd edition by Ingham Rosemary.

43

PRACTICAL - 8

YOGA AND MEDITATION - II



OBJECTIVE:

To make the acting students understand the importance of controlling the

Mind and Body.

1) Practicing the advanced Yoga postures will make the acting students

gain the flexibility of attaining different types of gestures and postures

facial expression and voice modulation

2) Practicing the advanced meditation – techniques will help the acting –

students to control the emotion in a desired way.

UNIT – I – ‘SARVANGA AASANA’ (Whole-body-posture)

Students will be trained to practice in this ‘posture’ so that their lever-

function will be improved and they will be free from any type of illness.

UNIT – II - ‘DHANURAASANA’

Students will be trained to practice in this ‘posture’ so that their back

muscles will be strengthened and they will be free from gastric disorders

and their digestion will improve.

UNIT – III - ‘USHATTAASANAM’

Students will be trained to practice in this ‘posture’ so that they will be

free from back – aches, joint – pains and breathing – troubles.

UNIT – IV - ‘SETHUBHANDHANASANAM’ (‘Bridge – Posture’)

The students will be trained to practice in this ‘Posture’ so that they will

be free from back-ache Neck-pain and Thyroid mal-functioning.

44

UNIT – V - ‘DHYANA (Meditation) – ‘KAAYAKALPA’

The students will be trained to practice in this ‘advanced meditation

technique so that they will be free from any mental-disorders and this

will help students to concentrate fully in their profession.

METHODOLOGY:

A specialist Yoga teacher would teach Yoga and meditation to the

students two hours per week.

REFERENCE BOOKS:

1) The complete idiots’ guide to Meditation by Joan Budilovsky, Eve

Adamson.

2) The Sivanana Companion to Meditation: How to Master the mind and

Achieve, by Sivananda Yoga centre

3) Yoga Tantra and Meditation in daily Life by Swamy Janakananda

Sarasaswathi.

***************************

45

PRACTICAL - 9

VIDEO PRACTICALS

SECOND SEMESTER


OBJECTIVE:

To expose the students in gaining hands on experience to act in front of the

camera and learn its nuances and intricacies. It will give them self confidence

when they enter the film industry. At the end of the semester a short film with a

maximum duration of 20 minutes will be made where all the acting students

will have do a character and it will be evaluated by an external examiner in the

following aspects:

1. Acting for the camera (How well the mimetic aspects has been

incorporated)

2. Body language of the given character

3. Voice, Speech & Diction (dubbing)

4. How well the continuities has been maintained

5. How a given character has been improvised and the overall

performance.

46

PRACTICAL - 10

MIME AND MOVEMENT - II



OBJECTIVE:

Every human being has a sense of rhythm imbibed in his/her body. This

subject helps the student to understand the nuances of rhythmic sense

and how it is applied in acting with the help of mime.

1. Practice of group mime, which helps them develop and improve their

concentration level when acting with the Co-actors.

2. Practice of understanding the level of facial expression, body language

and bodily gesture while performing for the camera.

3. Practice of listening to various Instrumental music.

4. Practice of observing the variations in the music, the sense of mood it

creates, and the rhythmic sense. Practice of creating a story for the music.

5. Practice of performing for the story created in synchronization with the

music.

REFERENCE BOOKS:

1. ‚Design for Movement‛ by Lynn Oxenford.

2. ‚The Mime Book‛ by Claude Kipnis.

3. ‚The Actor and His Body‛ by Litz Pisk.

4. ‚Body language‛ by Thomson Dick.

DFA - SRM University

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