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1. Academic Proposal on Cinema Studies For Manav Rachna University, Faridabad. India Cinema is the magic in the service of dreams. PresentationFilm Studies is an exciting discipline that understands film’s emotional and intellectual appeal. In this field, we examine the role of film form and narrative in the production of meaning and we explore the relationship of film to aesthetics, technological and cultural contexts. We recognise film’s unique status as art form, cultural institution, social tool, technology and industry, which provides a number of possible analytical routes for exploration.It is not just a practical program, teaching technical skills for filmmaking with latest technology and practising cinema faculty - it’s about learning the art of collaboration in real entertainment world. Cinema Studies Program Catalogue 2024-2027The Centre for Advanced Cinematic Research & Studies Project Proposal, Outlook, Philosophy & Overview By Bibhash MukherjeeT r a d i t i o n . C u l t u r e . D i v e r s i t y Establishing a Center of Advanced Cinematic Research and Studies holds immense potential in empowering Indian students to excel in the global movie and television industry. By offering specialized programs and workshops tailored to the needs and aspirations of filmmakers, this centre can catalyze nurturing talent and fostering creativity among aspiring filmmakers. Through comprehensive training in various aspects of filmmaking, including directing, screenwriting, cinematography, and production, visual effects and animation, students can acquire the skills and knowledge needed to compete on a global scale. Moreover, the centre can provide opportunities for students to collaborate with industry professionals, both domestically and internationally, through partnerships, guest lectures, and mentorship programs. This exposure not only expands their professional networks but also exposes them to diverse perspectives and approaches in filmmaking, enriching their creative sensibilities and broadening their horizons. Furthermore, the Center of Advanced Cinematic Research and Studies can play a pivotal role in promoting gender equality and representation in the film industry by actively supporting and showcasing the work of filmmakers. By highlighting the voices and stories of humans from diverse backgrounds, it can contribute to a more inclusive and equitable cinematic landscape, both in India and abroad.

2. Ultimately, through its dedication to excellence, innovation, and inclusivity, the Center of Advanced Cinematic Research and Studies has the potential to empower Indian students to thrive in the global movie and television industry, shaping the future of cinema with their unique perspectives and creative talents. Education ProposalA path in the world of cinema stands as a beacon for creative souls from all walks of life. It extends beyond the spotlight, offering a myriad of roles like director of photography, casting director, set designer, screenwriter, hair stylist, makeup artist, editor, director, Vfx artists and sound designer. Why opt for a career in films? If you harbour a penchant for creativity and revel in expressing your narrative vision, or if you possess a unique perspective and yearn to share it with audiences through the magic of storytelling, then the realm of cinema beckons. Here, you'll find a canvas where your artistic self can flourish. The film industry isn't bound by tradition, and neither is its work environment. While cra$ing films and shows demands dedication, time, and a blend of technical and artistic prowess, it also allows collaboration with dedicated individuals driven by passion. In this dynamic sphere, learning becomes a constant as you immerse yourself in the company of like-minded enthusiasts. In the following pages, we delve into some pivotal statistics that shed light on the ever-evolving landscape of the film industry. Moving Visual Studies U n l o c k t h e F r a m e s01. Why Choose Moving Visual Art? Before opting for a career in Filmmaking candidates should consider the below mentioned points: • According to the U.S. Bureau of Labour Statistics (BLS), there is expected to be a 12% increase in the employment of editors and camera operators in the upcoming 10 years. • As per data provided by Deloitte, the film industry is a swiftly growing sector with a compound annual growth rate of 10.5%. • According to the U.S. Bureau of Labour Statistics (BLS) employment of animators and special effects artists are expected to grow by 5% in the upcoming 10 years. • According to U.S. News and World Report, acting is one of the top 100 desirable occupations in the world. • According to the Houston Chronicle, 43% of the filmmakers were employed by motion pictures and video industries while 59% were self-employed, as of 2023. • About 18% of film school graduates are working in literary, artistic and media occupations. The Indian film industry is the largest in the world in terms of number of films produced with between 1,500 to 2,000 films produced every

3. year in more than 20 languages.02. With the introduction of the National Education Policy 2020 (NEP 2020) undergraduate and postgraduate studies in Cinema offer transformative opportunities for the students from India. Building upon the ethos of holistic education and empowerment, these programs are uniquely positioned to equip students with the skills, knowledge, and experiences needed to thrive in the dynamic landscape of the film industry. Undergraduate and postgraduate studies in Cinema are designed to provide students with a comprehensive understanding of filmmaking, from theory to practice. By integrating hands-on learning experiences in real production environments, such as studios and film sets, students gain practical insights into the complexities of the filmmaking process. This dynamic approach to education not only enhances their technical proficiency but also cultivates their creative instincts and problem-solving abilities, preparing them for diverse roles in the industry. Moreover, the NEP 2020 emphasizes the importance of skill education and experiential learning, aligning with the commitment to holistic development. Through a curriculum that blends theoretical knowledge with practical application, students are empowered to develop a wide range of skills, including storytelling, cinematography, editing, sound design, and production management. This interdisciplinary approach not only fosters versatility but also prepares students to adapt to the evolving demands of the film industry. Additionally, CACRS's emphasis on inclusivity and gender equality ensures that the students have equal access to opportunities and resources in the field of Cinema. By providing a supportive and inclusive learning environment, the program enables students to pursue their passion for filmmaking without limitations or barriers. Furthermore, through initiatives such as mentorship programs, industry collaborations, and networking opportunities, the students are empowered to forge meaningful connections and carve out successful careers in the film industry. In conclusion, undergraduate and postgraduate studies in Cinema, in alignment with the NEP 2020, offer a transformative educational experience for the students from India. Through dynamic courses designed with a focus on skill education and real production environments, students are equipped to excel in the global film industry, shaping the future of cinema with their talent, creativity, and vision. Cinema Studies - Objective03. The Centre for Advanced Cinematic Research & Studies is dedicated to fostering a community where diversity and inclusion are cherished as essential pillars of excellence in the evolving entertainment industry. We firmly believe that our pursuit of excellence is best served by embracing and supporting a diverse array of students, faculty, and staff, and by cultivating an environment of mutual respect that nurtures their success. Our commitment to diversity, inclusion, and excellence is integral to our mission of advancing research, scholarship, and teaching in the cinematic arts. These values are deeply ingrained in the leadership of the Centre for Advanced Cinematic Research, permeating all levels of our institution.

4. We understand that the responsibility for upholding excellence, diversity, and inclusion rests with each member of our community: from leadership and administration to faculty, staff, and students. Together, we are dedicated to fostering a culture that encourages individual research and scholarship, to produce outstanding professionals and scholars who contribute to both global knowledge and societal advancement. At the heart of our mission is the belief that teaching and research are symbiotic endeavours, each enriching the other. As a forward-thinking institution, we recognize the importance of excelling in both domains. Our vision for the Centre for Advanced Cinematic Research & Studies is one of continuous advancement, where we strive to expand the horizons of knowledge and empower future generations of filmmakers and scholars to make meaningful contributions to the world. Diversity & Inclusion Statement The following courses are required for completion of the Film and Media Studies The Undergraduate Program: • Thirty credits taken outside humanistic studies in the areas of social and behavioural sciences, quantitative studies, natural science or technology • Introduction to the Study of Film I and II • One of three introductory production/visual theory courses: Introduction to Visual Language Introduction to Film Production Video I At least two of the following courses: Film Genres Introduction to Film Theory Special Topics in Film and Media 1. Seven courses at the 300 or 400 level (with a maximum of two production- related classes) 2. One 500-level course, either an internship or an independent study 3. An area of emphasis: students will take three courses outside the program in a separate area (i.e., courses not cross-listed with Film and Media Studies), ideally in an area that can be brought to bear on the study of film or media in significant ways. Such clusters could be imagined, for instance, as focusing on other media and art forms (for example, photography, writing, the visual arts, literature, theatre); cross-disciplinary topics or sets of problems (for example, the urban environment, violence and pornography, censorship, copyright and industry regulation, concepts of the public sphere, or globalization); or subfields within area studies (for example, Women and Gender, Indian and International Studies or Cultural & Historical studies of India) and traditional disciplines, such as general history, anthropology, philosophy, or political science. Students will develop emphasis in consultation with the institute's Director of Undergraduate Studies.04. One Year Specialisation Cross Undergraduate - One-Year Specialization One semester of Introduction to the Study of Film, I or II Two of the following: 1. Introduction to Visual Language

5. 2. Film Genres 3. Introduction to Film Theory 4. Special Topics in Film and Media Four 300-level courses, excluding production courses One Year Cross Study - Additional Course 1. Students may develop a minor from six courses in Film and Media Studies including Introduction to the Study of Film Introduction to Film Theory Special Topics in Film and Media 2.One of the following introductory production course Introduction to Visual Language Introduction to Film Production Four 300-level courses including at least one course on a National cinema other than that of Hollywood. Introduction to the Study of Film I. This course teaches students the fundamentals of film analysis as well as leading students through the first half of our first century of movies. We will focus on the basic elements of film form, and their manipulation and use in films across the globe from the turn of the century until the start of World War II. Movements discussed include the silent comedy of Charles Chaplin and Buster Keaton, German Expressionism, Surrealism, Soviet Montage, French poetic realism, Indian melodramatic expression, and Indian regional cinema evolution and development. Early theatre motif science in India, America, Britain and France. Pre-Production Code Cinema, and, of course, classical Hollywood & Pan Indian Screenings are required for this course. Introduction to Visual Language Introduction to the aesthetics and meaning of moving images. Films and video art (by Murneau, Bresson, Lynch, Satyajit Ray, Mrinal Sen, Ritwick Ghatak, Raj Kapoor, Guru Dutt and in contemporary time director Michel Mann, Ang Lee, Wong Kar-wai, Steven Spielberg, James Cameroon etc.) will be screened to analyze picture, sound, editing along with video project. Introduction to Film Production Introduction to Film Production presents the basic elements of 16mm film production. In groups, students shoot weekly exercises and complete a short, silent 16mm film for a final project. Film Genres A survey of Global Cinema genres: the Western, Gangster Film, Science Fiction, Horror, Comedy, Melodrama, and others. Twice-weekly screenings. Short film responses and a final paper. Writing for the Screen An Introduction to dramatic writing for film. Weekly film screenings. Several short, written exercises in story, scene, and character design, and a final complete script for a short film. Introduction to Fiction and Poetry recommended. The Actor in Global Cinema This course examines the intersection of performance, stardom, and masculinity in the films of actors whose work reflects changing approaches to acting, from the studio era to the present. Love and Film In this course, we explore different understandings of "love" and the way that film has dealt with the concept as a medium. We explore a variety of approaches to the question of "love" - from the agape to the familial to the romantic - through a series of interdisciplinary readings ranging from philosophy to anthropology. We will also equally explore the question of how film has engaged with the question of love as a concept, and what depictions of human affection - from the general to the personal - it has offered us. Screenings are required for this course. Cinematic Truth Value: Traditions of Realism From the films of Robert Flaherty, Luchino Visconti and Robert Bresson, Satyajit Ray, Raj Kapoor, Dada Saheb Phalke, through the work of the Dardenne brothers and contemporary neo-realists, Pedro Costa, Abbas Kiarostami, Robert Gardner, and Kelly Reichardt, Adoor Gopla Krishnan, K Viswanathan, Mrinal Sen, this course will explore the dominant techniques, the aberrations, and the virtues and limitations of cinematic realism. Course Description05. BRIDE Dance for the camera

6. Dance for the Camera is a collaborative course taught with dance majors from Dance Group from India and US. Film students from Film and Media Studies will work with choreographers to produce a short 16mm/ HD dance for the camera film. Lost and Found Film Students will produce weekly short films from "found footage" via archival resources. Explores the notion of "filmic" and "photogenic" through final project and readings from Epstein, Benjamin, and Barthes. Senior Project in Film Production Senior students will develop and complete a short HD film. Independent Study in Film & Media For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/ viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Independent Study in Film & Media For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/ viewings and will include one lengthy essay or several short ones as well as regular meetings with the adviser. Independent Study in Film Production Students work on an individual basis to complete a theoretically based paper related to film production. Internship in Film & Media Allows students to gain professional experience in film and/or media along with their academic development. Internship shall be done thru reputed film studios and directors. Cross-listed Courses: Anthropology of Media We will examine the profound mediation of contemporary cultural life through technologies like film, television, radio, mobile phones, iPods, and the Internet, investigating questions of desire, politics, production, and imagination. Word and Image Taught in English, this course is a primer in the linguistics and the rhetoric of literary and cinematic texts. Students will familiarize themselves with the literary language’s exceptionality notion by studying Aristotle, Plato, Viktor Sklovskij and Roman Jakobson among others. They will then compare the power of the scholarly with the language of cinema by studying Andre Bazin’s take of New Realism, Christian Metz’s structuralize approach to cinema and psychoanalysis, Gilles Deleuze’s theory of the moving image and the time-image, a feminist approach to cinema by E.Ann Kaplan and others, as well as theories of digital cinema from Peter Weibel to Lev Manovich, among others. We will place the language of literature and film within a context that includes religion music, magic, prophecy and medicine. Cross-listed with Film and Media Studies and English. Course Description Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.

7. James Cameron06. Weimar Cinema German cinema of the 1920s is regarded as one of the "golden ages" of world cinema. The course centers on close readings of works which belong to the canon of German film, including "The Cabinet of Dr. Caligari," "Nosferatu," "Metropolis," "The Blue Angel," "The Last Laugh," and "M." Focusing on the question of cinema and modernity, we will discuss topics like modern aesthetics and visual perception; Expressionism in film; technology and the metropolis; the emergence of film genres (e.g. horror film, film noir, science-fiction film, and melodrama). The film analyses will be accompanied by a discussion of the varied scholarly approaches to Weimar Cinema (Siegfried Kracauer, Lotte Eisner, and Thomas Elsaesser). The course will be taught in English. Cross-listed with Film and Media Studies East Asian Cinema A study of select films across East Asia in their aesthetic and institutional contexts. Highlighted directors will include Yasujiro Ozu and Akira Kurosawa, Satyajit Ray, Ritwik Gathak, Adoor Gopalakrishnan, K. Balachandran, Shyam Benegal, Dada Shaheb Phalke, Chen Kaige, Wong Kar- wai, Im Kwon-Taek, and Gen Sekiguchi. Cross-listed with East Asian Studies and Film and Media Studies The Cinema of Andrei Tarkovsky Course examines the films and theoretical writing of Andrei Tarkovsky, director of Andrei Rublev, Solaris, and Stalker. Summer Courses: This course provides an introduction to the critical analysis of popular culture through the major theoretical paradigms of media and cultural theory. The teaching method uses a combination of media studies and sociology to explore popular culture and is designed to encourage students to become more active critics. The course presents a range of media from contemporary popular music to film and television. Smaller subjects include the teen "pop" love song, the politics of representation, and the forming of subcultures. Indian & American MasterpiecesIntroduction to Hollywood & Indian cinema and the basics of film analysis through the close reading of selected 20th century American classics including Citizen Kane, On the Waterfront, Annie Hall, and others. Indian classics like Mother India, Mugle-Azam, Pather Pachali, Tannir Tannir etc. Emphasis on discussion over lecture. Several short film responses and an essay with optional revision. Moving Pictures: Looney Toons and Beyond This course offers an overview of American and European animated films These films range from Looney Toons and early Warner Brothers films to European films including the works of the Brothers Quay and Jan Svankmayer, Walt Disney, Pixar and ideology of Pater Jackson on fantasy. Along with in- class screenings, each student will create a very short animated film. Absolutely no drawing skills are required for this course. Course Descriptions The following courses are offered in the Film and Media Studies Program on a rotating basis. Course Description07. Introduction to the Study of Film II Introduction to the Study of Film II provides an overview of American and international cinema from the post World War II era to the present. Through lectures and discussion, weekly screenings, and intensive visual analysis of individual films, we will explore the aesthetic, cultural, political, and economic forces that have shaped the art and industry of film over the past 100 years. Regular quizzes, writing assignments, class participation

8. required. Introduction to Visual Language This course is a study of the visual language used to create a moving picture. Through screenings, discussions of the films and videos and related readings you will begin to develop a visual critical facility. You will demonstrate this facility in the creation of a still image sequence and two other short videos. The first part of the course will focus on image construction including composition, framing and use of light. We will look at moving images using a stationary camera and those with camera movements and learn to be attentive to rhythm and tempo in picture editing and sound. The importance of sound as information (not as a mood enhancer) will be studied in screenings and shown in two of your assignments. We will have classes introducing (very generally) different genres of documentary and experimental video. The main assignments for the class will be all creative productions, listed below. This course is focusing of the aesthetics of film language and NOT dialogue driven traditional narratives. If students are not aware of Final Cut ProX or Premiere and DVD authoring, they are required to attend those workshops. The student will work on in small groups of three. Introduction to Film Production This course introduces students to the basic considerations of shooting on HD and 4K format. Through lectures, the course approaches the basics of light meter readings, basic camera operations and shot composition. Each week students, working in groups of three, shoot film exercises providing a general overview of film production. For the final project, each student shoots and edits a short (3-5 minutes) film on HD format. Introduction to Animation Students will produce several animations using hand-made, stop-motion techniques, including drawing animation, collage-based and puppet animation. Work will be shot digitally. Screenings and readings will provide a historical and conceptual context. Special Topics: Silent Classics A survey of silent era classics including films by Chaplin, Eisenstein, Keaton, Lubitsch, Murnau, Von Sternberg, Nitin Barua, Dada Saheb Phalke and others. A review of the basics of film analysis with an oral presentation, and analytical and creative writing exercises. Suggested Prerequisite: Intro to Study of Film, Intro to Visual Language or Intro to Film Production Special Topics: Reading Film The critical analysis of film with particular attention to the writing of analytical essays. (Prereq: Intro. to the Study of Film) Intermediate Film Production This course continues the work of the Introduction to Film Production course. The course also introduces the use and design of sound through the incorporation of non-sync voice(s) and effects. Each student is responsible for the complete production of a short (4-6 minutes) film, from treatment to shooting script to final edit. The films are shot on digital video. All editing for the films is with non-linear software, generally Final Cut ProX. Course Description08. Film Genres A survey of American and Indian genres: the Western, the Gangster Film, Science Fiction, Horror, Comedy, Melodrama, and others. Special Topics: Theorizing Popular Culture This course explores the changing role of popular culture via the major paradigms through which it has been considered. Presents a range of media from contemporary popular music to film and television. Advanced Film Production This course continues the work accomplished in the Intermediate Film Production course. The course also introduces the use and design of sync sound (voice/effects).

9. Each student is responsible for the complete production of a short (4-8 minutes) film, from treatment to shooting script to final edit. The films are shot on 16mm color and/ or black and white negative film stock and transferred to digital video. All editing for the films is with non- linear software, generally Final Cut ProX. Experimental Video An introduction to experimental video from the 1960s to present. Understanding "experimental" as an operative to change existing forms of video using aesthetic and ideological innovation. In class screenings we will study different ways of structuring video such as loops, action/performance based work, multi-channel (screen) works and sound driven video. Screenings will include early video artists such as Bruce Nauman, Vito Acconci, William Wegman and the contemporary artists Matthew Barney, Anand Patwardhan and the collectives Forcefield and Paper Rad. With four video projects. Film and Haiku Explores similarities between a filmmaker's approach to the natural world and a haiku writer's. Along with film screenings and readings, students shoot short films exploring filmmaking as a meditative process. Writing the Screenplay Course shall be a rigorous introduction to writing in screenplay form, based on writing exercises, the reading of scripts, and the screening of popular films. Story and Character Design for the Screenplay A workshop devoted to developing dimensional characters and compelling and original stories. Weekly screenings and short written exercises. Sketching the Scene: Image as Narrative Tool Departing from traditional screenwriting technique, this course will promote precise visual image as a foundation for developing scene, character, and story. Students will explore narrative from the inside out. Screenwriting by Genre Story design for the screenplay with special attention to the genres of comedy, horror, melodrama, and adventure. Regular workshops, short written exercises, and a longer final project. Characters for the Screenplay A workshop devoted to creating complex characters for the screen. Students will examine memorable characters in the films of Murnau, Ford, Hitchcock, and Woody Allen, the Cohen brothers, and others, with attention to how these characters are revealed through both the drama and the mise en scene. Weekly screenings. Short critical and creative written exercises and a longer, creative final project. Pre-reqs: Writing the Screenplay OR Story and Character Design or Screenwriting by Genre OR Narrative Productions OR Introduction to Dramatic Writing, Film OR Intermediate Dramatic Writing, and Film. Course DescriptionSilent Masterpieces Chaplin, Griffith, Keaton, Lang, Murnau, Von Sternberg, and others. The Uses of Difference Representations of African Americans, Native Americans, Indians and East Asians, Hispanics, and other "others" in Hollywood film. Women in Hollywood Film Female beauty, villainy, and humanity in popular film from the silent era to the present. Masculinities From tap dancer to gangster, assassin to anguished teen, versions of the male in film from the silent era to the present. The Decadent Black and White This course studies some of the most alluring films made under the old Hollywood system. As black-and-white was disappearing, a brilliant "final" burst of effort yielded some of the richest American filmed stories. Class will view movies, study scripts and try to comprehend the historical moment (roughly 1958-63). Ford, Leone, Ray and Peckinpah A study of four masters – John Ford, Sergio Leone, Satyajit Ray and Sam Peckinpah – their impact on the genre and on each other. Gangster Films The bad guy as hero from Little Caesar to Goodfellas. America Since Brando and India since Raj Kapoor and Dilip Kumar Traces the actor's influence on American film and culture. Close examination of the actor's performance methods, life, and movies, as well as the cultural contexts that informed their work. Technology in Hollywood Film

10. Representations of technology in narrative film (itself a highly technological medium) reflect the modern world's ambivalence toward its machines. Monster Films Monsters and misfits in Hollywood film, including King Kong, Hannibal Lechter, and the Great White shark. Landscapes in Film American setting and identity: the frontier, the city, the highway, the sea, the small town, and outer space in the films of Ford, Wellman, Siegal, Leone, Allen, Spielberg, and others. Russian Cinema from Avant-Garde to Socialist Realism Examines the origins and development of Russian cinema to the 1930s: silent era, montage, the advent of sound, Formalism, Socialist Realism, Stalinism, the role of ideology, censorship and the state. Conducted in English. A Cinema of Anxiety Postwar film noir: Fuller, Huston, Lang, Mann, Tourneur, Ray, Ghatak and others. Primitive Film Primitive Film explores pre-cinematic and early cinematic devices and spectatorship. The course offers readings as well as production techniques. Students construct and film a zoetrope. Drawing Animation A hands-on drawing animation course. Work shot digitally and scanned. No specific drawing skills necessary but a strong interest in hand drawn animation and substantial time commitment to drawing are required. Writing with Light Writing with Light explores the stylistic applications of lighting for film. The course will include readings and class projects emphasizing various lighting modes. Course Description 09.10. The Craft of Filmmaking Explores the film and media industry and how to find your place in it. Along with lectures and screenings, course includes a wide range of visiting speakers, directors, screenwriters, producers, etc. Dance for the Camera This course is a collaborative effort between Film and Media Studies students from CACSS and choreographers from other dance academies. Dance for the camera shall be the emerging genre with several national and international festivals devoted solely to these works. The course will be team taught by some eminent dancers and choreographers from India or abroad. The course will include an overview of recent works and discussions related to these works. One student from the program will work with other choreographer on several small exercises during the semester. Critical Approaches to Contemporary Film (Optional but paid Lecture Module) a workshop wherein student submits short critical essays each week about recent films. Discussion of the history of criticism and the changing nature of film discourse in the 21st century. Kubrick and His Critics Intensive examination of Stanley Kubrick's films, as well as the history of their critical reception. Lost and Found Film This course explores various elements of film production and filmic expression through a somewhat nebulous field typically described as lost films. Lost films (or as they are sometimes described "orphan" films) can be generally described as films that have, for a variety of reasons, fallen out of the public view. They frequently come from educational, scientific, medical, or industrial films from the 1950s and 1960s. Using these films as source materials, lost film filmmakers explore and expose cultural conventions, visual icons, and historical value materials. Each week, students are responsible for re-editing sources found on an internet archive site. The assignments follow thematic concerns related to film editing. Students shall complete a final project (4-8 minutes). All editing for the course is accomplished with non-linear software, generally Final Cut ProX. The Bengali, Malayalam, Marathi and French New Wave Study of the major films of the Bengali, Malayalam, Marathi and French New Wave, their origins, context, and afterlife. Extreme Close-Ups, Slow-Motion, and Time Lapse Vis a Vis Jean Epstein Extreme Close-Ups, Slow-Motion, and Time Lapse Vis a Vis Jean Epstein is a theory/filmmaking course exploring Epstein's voices in "the soul of cinema." Using only these filmic elements, each student completes a short on HD. Independent Study, Senior Project, and Internships Students may take up to 3 credits of independent study, senior project, and/or internship work per semester, to a maximum of 6 credits per academic year (summer through following spring). An undergraduate student can earn a maximum of 24 of these credits in pursuing his/her degree. Senior Project in Film Production (Paid Workshop) Senior Project in Digital Video Production (Paid Workshop)

11. Independent Study in Film and Media Studies (Paid Workshop) Independent Study in Film Production (Paid Workshop) Course Description11.Internship in Film and Media (Paid Workshop) Advance Cross-Listed Courses The Humanities Center Living in Doubts: Skepticism in Philosophy, Literature, and Film The Dramatic Event Thinking Films Philosophical and Theological Paradoxes in American, Indian and French Literature and Film Avant-Garde Cinema German and Romance Languages and Literatures Wireless Imagination: Introduction to Media Theory Literature and Photography: Understanding Reflection of Tagore’s and other prominent author’s works. Visions of Cinema: Explorations in Weimar, Satyajit Ray and Steven Spielberg films. Women and Film Political Cinema Narration and Text in Film Films of Almodovar Technology and Sexuality in Berlin Program for Women, Gender, and Sexuality Gender, Sexuality, and Identities in Mass Media, 1950-2023 The Writing Seminars Art of the Screenplay Advanced Screenwriting The Studies & Module Practical for MFA Degree Course • FILMMAKING • DIGITAL FILMMAKING • DOCUMENTARY FILMMAKING • PRODUCING FOR FILM & TV • SCREENWRITING • BROADCAST JOURNALISM • 3D ANIMATION • PHOTOGRAPHY • DIGITAL FILM EDITING & INTRODUCTION TO VFX AND AI The Centre for Advance Cinematic Research & Studies shall be for a new generation of storytellers: visual artists who share a passion for motion pictures and want to learn by doing their own projects in a hands- on, intensive program. Our students will be coming from all across the world to learn and work together in short-term workshops or one and two-year degree programs. In the creation of our curricula, we are working with faculty and professionals from around the world. We are adapting the best ideas and elements from the leading degree programs and designing intensive and accelerated alternatives that provide a thorough grounding in the craft. Course Description An internship with the best creative minds from the world cinema presents unparalleled advantages for aspiring filmmakers. Working alongside industry luminaries offers a unique opportunity to glean insights, learn cutting-edge techniques, and absorb invaluable wisdom honed through years of experience. Direct exposure to diverse artistic visions and approaches fosters a deep appreciation for the art of filmmaking while encouraging innovation and experimentation. Moreover, forging connections with renowned professionals opens doors to future collaborations, mentorship, and career opportunities on a global scale. Ultimately, an internship with the best creative minds from world cinema not only accelerates professional growth but also ignites a lifelong passion for storytelling and cinematic excellence.12. MASTER OF FINE ARTS IN FILMMAKING ACCELERATED MFA The CACSS's Master of Fine Arts in Filmmaking Program is a two year accelerated course of study that will give students the all around filmmaking experience necessary to make their own films.

12. In the 80 credit program, students receive over 2,000 hours of hands-on instruction and actual production experience. Students shoot projects on High- Definition, ARRI LF and Full Frame Production. All projects will be edited digitally. The curriculum integrates intensive study in all the major filmmaking disciplines including directing, screenwriting, producing, and editing. Our program shall be for people who have the passion to plunge into full-time filmmaking, and to commit themselves to a focused and demanding curriculum. No previous filmmaking experience is required; however, participants must work with self-discipline, energy and mutual respect. As in all Centres for Advance Cinematic Science programs, hands-on learning is emphasized. Film directing classes are not only theoretical explorations, but are also practical workshops designed to put students in the director's chair as quickly as possible. The Centre for Advance Cinematic Research & Studies shall encourage students to take creative risks and find their voices as visual artists. Students complete two years with skills in all the filmmaking crafts, an enormous amount of production experience, eleven films of their own and an expanded awareness of themselves and others. Students' films shall be celebrated in school screenings open to cast, crew, friends, family, and guests. SEMESTER ONE OVERVIEW Beginning on day one, students shall participate in an intensive sequence of classes in Film Directing, Screenwriting, Camera Technique, Lighting, Digital Editing, Directing Actors and Production Workshop. They will extend and deepen their in-class learning by producing their short films. Working in crews of three or four, each student writes, produces, directs and edits four films of increasing complexity. In addition, each student shall fulfil the essential roles of Director of Photography, Assistant Camera Operator, and Gaffer (Lighting Technician) on the films of her/his crew members. Thus, everyone will have extensive hands-on experience of working on sixteen short films in the first two months. During the third month, students will be introduced to new digital video technology. With its ease of use, digital video cameras allow the students to delve deeper into the director's craft. Each individual directs three digital projects. These projects and in-class production workshops challenge students to explore the dramatic mechanics of motion picture storytelling and the critical collaboration between actors and directors. The supporting classes include Screenwriting, Directing Actors, Directing, Production Workshop, and Documentary Filmmaking. The combination of these classes and the digital productions prepare students for the second semester and the production of their thesis films. PRODUCTION GOALS • Write; direct, and digitally edit four short films. The fourth film can be up to 10 minutes in length with multiple tracks of sound. • Be a cinematographer, gaffer, and assistant camera on your crew's films. • Write a short film script with dialogue (for 2nd-semester production). LEARNING GOALS • Learn the art and technique of visual storytelling including directing, cinematography, editing, and post-production sound design. • Learn the fundamentals of digital video production and digital editing. • Fundamental training in acting craft and directing actors. • Immersion in screenwriting craft. Course Description13 SCREENWRITING PROGRAMS & WORKSHOP Program Requirements: Bachelor's Degree Students Graduate With: Diploma, DVD Film Reel What makes our Screenwriting Program unique? In the film industry, screenwriters are now recognized as being just as important as directors in making films. The cliché still holds true, you can make a bad movie with a good screenplay, but you can't make a good movie with a bad screenplay. Successful screenwriting, however, requires discipline, perseverance and training. One of the most difficult aspects of screenwriting is simply getting started. After years of stopping and starting, many writers find that dedicating themselves to an intensive program of study at a top-notch film school, surrounded by other new writers, screenwriting can take on a life of its own and become second nature. The Screenwriting Workshops and Programs of the Centre for Advance Cinematic Research & Studies shall be the most comprehensive screenwriting courses of all top film schools. Students can develop an idea into a feature-length screenplay in as little as eight weeks, or hone their skills in our One-Year Screenwriting Program, and walk away with a body of work to begin their professional screenwriting journey. At each step of the way, the student is nurtured in a workshop environment. There is no better screenwriting resource than superior training. BROADCAST JOURNALISM PROGRAMS With Special Emphasis on Investigative Reporting • 1 Year Conservatory Journalism Program • 8 Week Journalism Workshop

13. • 4 Week Journalism Workshop • Evening Journalism Workshop The Centre for Advance Cinematic Research & Studies believes that journalists perform a vital function in our society that comes with power and responsibility. We rely on journalists to objectively present the truth, keeping us informed of issues and events that profoundly affect our lives. Our programs will train students in a vast array of skills including research, reporting, digital production, editing, anchoring, and show production. It will help prepare you for the profession; or work behind the scenes as a producer, director, editor, or camera person. Centre for Advance Cinematic Research & Studies students will be challenged to be resourceful digital reporters who can handle every aspect of covering a story. Our programs will include a special focus on investigative journalism. Investigative journalists have played a central role in shifting public opinion. Our students will be encouraged to dig deep into a story and ask the hard questions. The Centre for Advance Cinematic Research & Studies shall be training the next generation of journalists to be prepared to navigate the evolving landscape of journalism in the 21st Century. Working with top broadcast and investigative journalists, the Centre for Advance Cinematic Research & Studies will create an intensive hands-on curriculum to address the pressing demand for multi-skilled, independent journalists on broadcast television, Movies, cable, and the Internet. Students shall be introduced to cutting-edge digital technology and methods that are now being used professionally in the field. Today’s journalists are expected to research, write, shoot, produce, edit, and even appear on camera in their own field reports and investigative segments. In small crews or even solo, these intrepid reporters are the fastest-growing part of the journalism profession. Our Journalism programs will challenge students to practice and develop these skills in preparation for entering this exciting and competitive field. The main highlights of the program: • News Anchoring • Multi-terrain news reporting. • Scripting a feature, live news broadcasting. • Researching news and analysis. • Editorial management and special broadcasting Course Description14. Two-Year Degree in Photography Program OVERVIEW: Semester 1 Semester 2 Semester 3 Semester 4 COURSES: Semester 1 Semester 2 Semester 3 Semester 4 The Centre for Advance Cinematic Research & Studies Master of Fine Arts in Photography shall be a four-semester (16 weeks per semester) conservatory-based, full-time graduate program. This exceptional course of study is designed to train a new generation of visual artists whose work is grounded in a thorough awareness of the history of the medium, who possess a technical mastery of the latest tools, and who are equipped with the creative and business skills to succeed in a competitive marketplace, whether they choose to specialize in fine art, journalism, commercial, video or documentary traditions. In this program, students shall be given unique opportunities to engage with an incredibly diverse international student body on our campus. Visits to world-class museums, galleries, studios, labs, agencies, publishers, and trade shows; guest lectures and critiques by working photojournalists, artists, and curators; internship opportunities; instruction by a core faculty comprised of working professionals – these are all key parts of the rich CACSS experience. Results of the successful completion of the Degree program include: • A comprehensive knowledge of digital and film cameras and optics from 35mm to large format • In-depth experience with a wide range of digital and photochemical image creation and printing techniques • A comprehensive awareness of and expertise in lighting, digital imaging and printing tools • Mastery of Adobe Photoshop Creative Suite • Knowledge of research techniques for documentary and news assignments • Knowledge of the history of photography practices, aesthetics and technology • Knowledge of aesthetic theories of photography and experience with their practical application • The ability to work independently in a high-pressure creative environment

14. • A broad portfolio of fine art, commercial, documentary, news and personal images The CACSS Masters Degree in Photography program will uniquely embrace today’s state-of-the-art cameras as tools that produce not only still images of unprecedented resolution, but also a high-definition video of astonishing quality. The photography department shall be equipped with all lens-based media, offering a unique curriculum that includes not only still digital and film- based photography but also video production. Whether someone’s work intends to flicker as briefly and brightly as an advertisement or to create an art icon that rewards generations of scrutiny, the value of anybody’s ideas, the quality of one’s execution and the impact of the style will ultimately determine its success. Content has never been more important, even as professional image-makers must constantly upgrade their technical skills and sharpen their conceptual faculties to produce work that is daring, provocative and influential. Technological change promises to continue to push the synthesis of mediums and distribution mechanisms. There has never been a more exciting time for visual artists. SEMESTER ONE OVERVIEW The main goal of the first semester will be to develop core photography skills by shooting immediate and ongoing assignments with a state-of- the-art digital SLR, the ARRI LF. As students shoot and edit, they are immersed in the theory and history of photography. Looking at masterworks and participating in critiques, students develop skills to conceptualize, pre-visualize, compose, expose and edit powerful images using light and perspective to underscore content. Photographers are first and foremost light hunters. Students will learn to recognize the power of dramatic light and the potential of shadows as we bend the sun, the moon, and every conceivable artificial light source from sparklers to Fresnels, studio flash to LEDs to illuminate the subjects. Even as they learn traditional 3-point lighting, students will be encouraged to think beyond convention to choose lighting techniques with the emotional and dramatic impact. As students will examine a wide range of imaging disciplines, they will also practice the essential business skills that enable any professional to run a successful practice, including research, assignments, bidding, self- promotion, marketing, stock imagery, studio organization, contracts, exhibition, licensing, publishing and artist grants. Photography today is intrinsically linked to Adobe Photoshop as the pre- eminent digital darkroom tool. Industry experts help students master non- destructive image editing, learn the staggering power of RAW processing, how to target and shift colors with incredible precision, professional selection and masking techniques, and even how to manipulate time in the editing process. Course Description15. SEMESTER ONE OBJECTIVES PROJECT GOALS • Test apertures ranges, shutter speeds, lenses, lighting tools, and filtration options on a wide variety of subjects. • Thoroughly test the limits of over and under exposure and RAW processing and the effect on the "look" of an image. • Research, conceptualize, shoot, edit and output a photographic documentary essay, including a written artist’s statement. • Conceptualize, shoot, edit and output a fine-art exhibition on a single cohesive theme, including a written artist’s statement. • Develop and participate in a community of creative peers capable of providing invaluable critical feedback. LEARNING GOALS • Understand the components of exposure. • Acquire a working mastery over the Canon 5-7D Mark II digital SLR camera and standard lenses for still imaging. • Develop working digital darkroom skills using Adobe Photoshop.

15. • Understand basic color management and be able to output accurate prints to modern inkjet printers. • Recognize the characteristics and make creative use of basic lighting tools and camera position to create drama and emotional impact under typical lighting conditions. • Examine the history of photography and photo technology up to the arrival of handheld HD cameras. • Understand and apply theories of aesthetics, semiotics, design, composition and color. SEMESTER ONE CLASSES Studio Practice I Studio Practice is the core of the curriculum, encompassing lecture, demonstration, shooting assignments on location or in the studio, and critique. Students learn the mechanics of cameras and lenses and the components of exposure. Students are taught to be aware of the unique characteristics that light can take: direct, diffused, reflected, and tempered by atmosphere. They begin to master the modern digital SLRs, ARRI LF, and analyze digital capture’s pleasures (instant gratification!) and pitfalls (generic, competent images). Every technique will be practised through individual assignments, which shall be critiqued by faculty and peers. Digital Imaging I Adobe Photoshop may be the greatest tool of visual illusion and manipulation ever invented along with AI-driven tools. Going beyond the flashy effects that wow at trade shows, students will use professional digital darkroom techniques that give unprecedented colour and tonal control over their images. Students shall build their digital darkroom from RAW processing through non-destructive editing, and output from print to web page to large format output. This course shall include lectures, demonstrations and lab time for students to edit their images with the assistance of expert faculty. History & Theory I Intensive study, analysis, and critique of the work of master photographers, their techniques, aesthetics and approaches helps to equip students to choose the most effective means of realizing their own projects. The history of photography is studied from its beginning through the proliferation of the handheld HD camera. Students shall be guided to analyze the cultural and societal impact of photography, and the evolution of the medium from the original assumed veracity of photographs to the exploitation of the viewer’s acceptance of the photograph as "truth," given the use of modern photographic manipulation with tools such as Photoshop. Additionally, students become intimately familiar with a particular photographer’s body of work through written research projects. Discussions include composition, traditional and non-conventional framing, color theory, design, semiotics (signs and symbols), the effect of technological changes on photography, the use and limitations of photography as a documentary and personal record, and the surprisingly long history of using viewer assumptions to distort the truth. Documentary & Fine Art Photography In this class, students take a close look at the evolution of documentary and fine art photography through the work of established and emerging masters such as Bernice Abbott, Diane Arbus, Eugene Atget, Jonas Bendiksen, Bill Brandt, Matthew Brady, Keith Carter, Henri Cartier-Bresson, William Eggelston, Alfred Eisenstadt, Walker Evans, Robert Frank, Lee Friedlander, Nan Goldin, Michael Kenna, Dorothea Lange, Philip Lorca- diCorcia, Sally Mann, Mary Ellen Mark, Steve McCurry, Tina Modotti, Sebastiao Salgado, Sandy Skoglund, Cindy Sherman, Eugene Smith, Edward Weston and others. Guest presentations play a major part of this course, as well as written analyses. Students build on their in-depth exposure to the work of these masters to research, plan and execute their own documentary and fine art projects for in-class critique. Visiting artists will address the business practices of successful documentary and fine art photographers, including private and public funding, assignment work, self-promotion, exhibition, approaching galleries and museums, book publishing, stock and commercial licensing. Course Description16.SEMESTER TWO OVERVIEW The second semester builds on students’ basic skill set and challenges them to refine their technical, aesthetic and business skills. Focusing on commercial image-making, students look at established masters as they work intensively with studio lighting, the 5-7D D-SLR, ARRI LF and medium format camera systems on fashion, product, beauty, and architectural assignments. Art direction and design elements are employed to create distinctive visual styles. In-post production, students move beyond basic color and tone correction into sophisticated compositing techniques, dynamic range extension, and advanced retouching and masking techniques. Students will also explore the creative potential of unconventional cameras, and get familiar with the incredible high- definition video capabilities of the Canon DSLR’s as they are immersed in a unique curriculum of visual storytelling

16. techniques, including concept, direction, editing, lighting, and sound design, culminating in a short video commercial project. Students shall expand their repertoire of techniques with light and shadow as they work with professional lighting and grip hardware, as well as inexpensive and unconventional practical sources of light and shadow. SEMESTER TWO OBJECTIVES PROJECT GOALS • Apply professional business practices to each project, including releases, casting, and contracts. • Thoroughly test a wide variety of lenses and alternative image capture devices. • Conceptualize, shoot, edit and screen a short high-definition video project. • Conceptualize, shoot, edit and exhibit a commercial photo project, working with models, an art director, sets, and professional lighting equipment. • Research, shoot, edit and exhibit a news story. LEARNING GOALS • Refine lighting skills that can be applied under controlled and any real-world conditions using a comprehensive array of tools. • Acquire working expertise with video features of the Canon D-SLR camera and Cinema Camera like Arri LF. • Learn motion picture storytelling techniques, including writing, directing, producing, lighting and editing. • Become familiar with commercial and journalistic business practices, ethics, legal issues and practices. • Become familiar with medium-format systems. • Develop expert digital imaging skills using Adobe Photoshop. • Examine the history of photography and photo technology from the arrival of handheld 4K HD cameras to today. • Expand and refine aesthetic sensibilities in composition, colour, design and lighting. SEMESTER TWO CLASSES Studio Practice II The semester shall begin with an intensive immersion in digital filmmaking. Each student will work as a director, cinematographer, gaffer, camera assistant and sound recordist, as well as edit his or her projects. The astounding high-definition video capabilities of the Canon 5D cameras are employed as students learn the grammar of cinema, plan shots that serve the story and support editorial continuity and practice set protocol. Finally, narratives are deconstructed and rebuilt using the power of non-linear editing. Medium format systems, using both film and digital backs and alternative cameras - scanners, cell phones, pocket cameras, video cameras, and even copiers - are investigated. Students will be encouraged to analyze how the choice of format affects the subjects, point of view and shooting approach. Students learn to find and create dramatic light under any conditions, using conventional tools like the latest hot and cool continuous sources, flash in all forms, professional grip hardware, as well as unconventional sources from flashlights to headlights. Discussion includes 3-point lighting, soft and hard light, colour temperature, gels, diffusion and control systems. Digital Imaging II Transformations, layer masks, tone, texture and colour matching are used in this class to composite entirely new visual worlds, full of startling and utterly believable juxtapositions. Also taught are in-depth RAW processing, advanced colour correction and tone control techniques including the use of multiple color models. This class demystifies colour management to get accurate results through the workflow, including device profiles, RGB and CMYK colour spaces, conversions and workflow configuration. Finally, students explore output options in-depth, including ink and carbon-based output, 4-color press, Lambda, Kodak Approvals and others. History and Theory II Study and analysis of the work of master photographers continue from the proliferation of the modern HD camera to the present day. The impact of the digital revolution on the proliferation of image distribution devices (the cell phone, iPad, the web, etc.) and its relationship to popular culture, photojournalism, and the blurring of art and commerce is explored. Students examine the radical degree to which commercial retouching practices have distorted viewer expectations, had a profound effect on society, and utterly transformed the very nature of what a photograph is. Students will also analyze the aesthetic and technical techniques of particular photographers through written research projects. Course Description17

17. . Commercial Photography In this class, students will produce tabletop, fashion and beauty, advertising and product work. Casting, working with models, lighting challenges for specialized products, and high- end commercial retouching are also addressed. Students will conceptualize and design shoots from top to bottom, including set design, location scouting, art direction, costumes, makeup, hair and props. The work of successful commercial photographers such as Richard Avedon, Chris Buck, Patrick Demarchelier, Annie Leibovitz, Helmut Newton, Herb Ritts, Ellen von Unwerth, and Albert Watson will be examined. Business practices including bidding, studio organization, releases, working with assistants, art directors and clients, licensing, pricing, publishing, assignments, self-promotion, and contracts shall be studied. History and Theory II Study and analysis of the work of master photographers continue from the proliferation of the modern HD camera to the present day. The impact of the digital revolution in relation to the proliferation of image distribution devices (the cell phone, iPad, the web, etc.) and its relationship to popular culture, photojournalism, the blurring of art and commerce is explored. Students examine the radical degree to which commercial retouching practices have distorted viewer expectations, had a profound effect on society, and utterly transformed the very nature of what a photograph is. Students will also analyze the aesthetic and technical techniques of particular photographers through written research projects. Commercial Photography In this class, students will produce tabletop, fashion and beauty, advertising and product work. Casting, working with models, lighting challenges for specialized products, and high- end commercial retouching are also addressed. Students will conceptualize and design shoots from top to bottom, including set design, location scouting, art direction, costumes, makeup, hair and props. The work of successful commercial photographers such as Richard Avedon, Chris Buck, Patrick Demarchelier, Annie Leibovitz, Helmut Newton, Herb Ritts, Ellen von Unwerth, and Albert Watson will be examined. Business practices including bidding, studio organization, releases, working with assistants, art directors and clients, licensing, pricing, publishing, assignments, self-promotion, and contracts shall be studied. Photojournalism Students research, shoot and edit news. Digital Centre • 4 Week Digital Film Workshop • 12 Week Evening Digital Film Workshop • 1 Week Digital Film Workshop • Music Video Workshop A Hands-On Digital Filmmaking At CACSS's students will learn by doing from day one. During each workshop they will write, shoot, direct, and edit their own short films. They will learn the art and craft of digital filmmaking through a balance of classroom instruction and immediate directing experience using the most sought after digital cinematic tools. While attending our digital film school they will explore the numerous visual, dramatic, and technical challenges that directors face. In addition to writing, producing, directing, and editing their own projects, students will assist other batch mates as a member of their crew in the roles of director of photography, assistant cameraperson, and gaffer/grip, providing everyone with extensive set experience. The teachers will demystify the craft of digital film production and challenge them to use the medium to its best advantage. CACSS will offers four and twelve week intensive workshops and a one week specialized movie and music video camp. Building Network In this business, who we know is as important as what we know. Meet and work with an incredibly diverse, international group of students who share the same passion for film. The combination of non-stop collaborative work, diverse cultures and experiences make our school an intensely enriching experience. Students will forge bonds, both professional and personal, that often extend beyond the school. Use the Best Equipment Our students will shoot on the Digital HD camera and edit on Final Cut ProX with Macintosh computers. This equipment is comparable to that of the leading degree programs at film schools across the world. CACSS is the only school in the country to make available to students the new RED HD/Arri/VeriCam camera, which are used in shooting the blockbuster films in current market. Create Work That Matters

18. At the conclusion of all workshops, a screening of the students' final projects will be held, providing a unique opportunity for family and friends to see the work students have produced. Students retain the digital master tapes of their work to include in their portfolios. Each student, upon successful completion of the program, will receive a diploma. Course Description18.3D ANIMATION PROGRAMS & WORKSHOPS • 1 Year Advance 3D Animation Program • 4 Week 3D Animation & VFX Program • 3 Week 3D Animation Program Be a part of the revolution at our 3D Animation Film School CACSS will have a year long full immersion program in Maya/Softimage/Nuke/Fusion based 3D Animation. Students after leaving the 3D Animation school program will ready to find employment in the rapidly growing field of 3D Animation for a variety of media. What we will achieve Students will have designed, animated and completed her or his own 3D digitally animated short film. Students will participate in every part of the 3D Animation production pipeline on real projects. Our Student Profile • A sincere interest in the art and craft of 3D Animation. • A spirit of collaboration and inquisitiveness. • A willingness to work with other artists and cultivate creative relationships. Take a look • CACSS Student Production • Get Inspired DIGITAL EDITING SCHOOL • 4 Week Film Editing Workshop • 12 Week Film Editing Workshop "In the actual editing of a scene, I will keep on working until I can no longer 'see myself' in the material... where I can look at the scene and say, 'I didn't have anything to do with that - it just created itself.'" - Walter Murch, Academy Award-winning editor What makes our Editing Workshops unique? Final Cut Pro exploded onto the digital video-editing scene only a few short years ago, and has strongly established a foothold for itself among the world's premiere editing houses and film schools. The easy-to-use features make Final Cut Pro a wonderful tool for editing digital video and film, and can be used by individuals to build their own home professional video editing systems for picture and image editing or sound editing. The Centre for Advance Cinematic Research & Studies Four-Week Digital Editing Workshop and Twelve-Week Evening Digital Editing Workshop are intensive courses designed to familiarize students with all the skills necessary to work with Final Cut Pro. In keeping with the Centre for Advance Cinematic Research & Studies philosophy, students enrolled in the Digital Editing Workshops will find themselves in front of a workstation from day one. Side by side with highly experienced, Apple-certified editing instructors, students edit professionally shot scenes, gaining invaluable experience through in-depth exploration of story structure, style and content approaches. By the end of the course, the student will have completed three projects, which can be used for a movie editing showreel. Equipment and Facilities Students enrolled in the Four-Week Editing Workshop or the Twelve-Week Evening Digital Editing Workshop at any of our film school locations will have individual hands-on use of a Final Cut Pro editing system, installed on an Apple computer. Course Description Animation studies integrated with AI represent the future of film and media production, heralding a new era of creativity and innovation. By leveraging artificial intelligence, animators gain access to powerful tools and technologies that streamline workflow, enhance

19. efficiency, and push the boundaries of visual storytelling. AI-driven animation techniques enable unprecedented levels of realism, fluidity, and expressiveness, revolutionising character animation, special effects, and virtual environments. Moreover, AI-powered algorithms analyze vast amounts of data to predict audience preferences, optimize storytelling techniques, and personalize content delivery, thereby shaping the future of audience engagement and entertainment. As animation studies embrace AI, they empower storytellers to unleash their imagination, create immersive worlds, and redefine the possibilities of animated storytelling for generations to come.19.EVENING FILMMAKING WORKSHOPS & PROGRAMS EVENING WORKSHOPS • Evening Filmmaking • Evening Digital Filmmaking • Evening Screenwriting • Evening Digital Editing • Evening Producing • Evening Broadcast Journalism EVENING PROGRAMS • One-year evening Documentary Online Screenwriting Course Do you have the ideas but lack the experience as a screenwriter to get them in screenplay form? Would expert instruction and feedback help shape your idea into a marketable screenplay? Now, you can receive professional instruction and feedback from award-winning screenwriters while you learn to write an original screenplay of 90-120 pages on your personal computer and on your own schedule. The Centre for Advance Cinematic Research & Studies shall offer the most comprehensive online screenwriting courses available in the country. Online Learning CACSS online learning shall be interactive and participative. As students complete one course at a time, progress to the next course in the same way as students who meet at our on-campus classrooms and work in teams with their classmates for special projects. The Screenwriting class will be held completely online. Rather than gathering in a traditional classroom, students and instructors interact electronically, resulting in increased access for students by allowing them to control the time and place of their participation. Lectures and screenings are made available weekly for download or stream, assignments are posted and classes will meet online once a week for discussion and critique with the instructor. Our online school will allow students to work independently and in groups, no matter where or when someone works. When students will log on to the Online School website, they will be able to: • Check their email. • Complete coursework through electronic forums. • Log in and participate in their classes when and where they choose. • Communicate online with classmates, instructors, and academic counsellors. • Complete 100% of their educational and administrative activities online. Rigorous Curriculum Screenwriting is the foundation of which filmmaking is built on. A writer is very much like a craftsman who must train by doing-- writing every day possible. This is why CACSS will focus on daily assignments and weekly deadlines. Students are required to complete 38 weekly live workshops with the instructor online. Downloadable mini-lectures and sample screenplays

20. demonstrate concepts and help students prepare for assignments. Throughout the program students will receive extensive feedback and script notes from the instructor on their screenplay. Upon completion of the program, students will have gained an in-depth understanding of story structure, character, conflict and dialogue, and the completed first draft of a feature length film script (90-120 pages); which students can pitch, produces, and try to sell. Revolutionising the evening courses for resident students of Banasthali offers transformative advantages, enhancing their educational experience and personal growth. By introducing innovative and diverse courses tailored to their interests and career aspirations, students have the flexibility to pursue additional learning opportunities beyond their regular curriculum. These evening courses provide a platform for acquiring specialized skills, exploring new passions, and expanding horizons in areas ranging from technology and entrepreneurship to arts and culture. Furthermore, the convenience of evening classes accommodates students' busy schedules, allowing them to balance academic pursuits with extracurricular activities and personal commitments. Ultimately, revolutionising evening courses empowers students to maximise their potential, cultivate well-roundedness, and thrive in an ever-changing world. Course Description20. Program Topics Story Generation introduces students to the workhorse of the screenwriting business -- treatments. On fast and furious deadlines, students will be expected to create two high concept screenplay ideas, flesh out characters, and organize their story structures. The end product will be two treatments, which can be used as the foundation for their feature-length screenplay. Screenplay Analysis is designed to further students' knowledge of the intricacies of feature-length screenwriting. Each week, students will be required to read a script prior to an in-class screening of that same film. The instructor will then critique the film as it is screened, offering minute-by-minute observations focusing on such topics as subplot development, visual storytelling, turning points, planting and pay-off, and character development. Elements of Screenwriting introduces students to the craft of screenwriting, establishing a foundation for all future writing. Through lectures and clips, the instructor will highlight a specific topic that students will then analyse in classroom discussion and practice through skill-building exercises. Screenplay Workshop Sessions are student-driven classes in which student work is evaluated and critiqued. Deadlines will be established that guide students in the development of a feature-length screenplay from log-line to treatment, then from outline to screenplay. Each student will be allocated one-half hour of workshop time every month in which his/her work will be critiqued. A constructive, creative and supportive atmosphere will be strongly encouraged. As in the second half of the year the workshops continue, Centre will provide students an arena in which to complete the final draft of their screenplay. This will be the perfect place for students to practice the art of discipline, as they will be expected to work at their own rates and to present scenes only every month. Screenplay formatting will be a major focus, and students will learn how to write scene descriptions, to describe characters and locations, and to develop action sequences. Course topics covered include: • classic screenplay structure • elements of the scene • developing the character • character arcs • antagonists • dialogue • writing the visual image

21. • theme • conflict • flashbacks • fantasy sequences and dream sequences • voiceover • text and subtext • developing your writing style • tone and genre • visualisation • revealing exposition • creating a compelling second act • climaxes and resolutions & beats of the scene Course Description34. The Engagement - Short term - Programming Module A Short-Term Course in the Movie Industry Moving Visual Project In an industry o%en dominated by male voices, there's an increasing need to empower and equip girls with the skills and knowledge to thrive in the movie industry. This short-term course aims to break barriers, foster creativity, and provide practical insights into various facets of filmmaking. Whether students dream of directing, producing, writing, or working behind the scenes, this course offers a supportive environment to explore their passion for film. Offering a transformative journey into the heart of the movie industry, where creativity knows no bounds and dreams have the power to become reality. Whether anyone is a seasoned filmmaker or just starting, this short-term course offers a supportive and inclusive space for students to explore their passion for film, develop valuable skills, and chart a course for success in the dynamic world of cinema. Let their voice be heard on the big screen!34. Re-skill and up-skill workshops can play a crucial role in enhancing the employability of students a%er they graduate from university. Participating in re-skill and up-skill workshops can significantly benefit girls aiming to enter India's movie industry. With the film industry experiencing rapid growth and evolution, acquiring relevant skills through these workshops enhances their competitiveness in a highly competitive field. By staying updated on the latest technologies, storytelling techniques, and industry trends, students can better position themselves for job opportunities in various roles, including directing, producing, cinematography, and screenwriting. Moreover, these workshops provide a platform for networking with industry professionals and mentors, fostering valuable connections that can lead to internships, collaborations, and career advancements. Ultimately, equipped with a diverse skill set and a strong support network, girls in India's movie industry can break barriers, amplify their voices, and contribute to creating diverse and impactful narratives on screen. 1. Staying Relevant in a Changing Job Market: The job market is constantly evolving, with new technologies and trends emerging all the time. Re-skill

22. and up-skill workshops provide an opportunity for girls to learn about the latest industry developments and acquire in-demand skills that employers are looking for. This ensures that they remain competitive and attractive to potential employers. 2. Filling Skill Gaps: While university education provides a strong foundation in a particular field, there may still be skill gaps that need to be addressed to succeed in the workforce. Re-skill and up-skill workshops allow girls to identify and fill these gaps, whether it's learning a new programming language, improving communication skills, or gaining project management expertise. 3. Adapting to Changing Industries: Certain industries undergo rapid transformation due to technological advancements or shi%ing consumer preferences. Re-skill and up-skill workshops help students adapt to these changes by providing training in emerging fields such as data science, digital marketing, or renewable energy. This enables them to pivot their careers and explore new opportunities in growing industries. 4. Enhancing Confidence and Competence: Participating in re-skill and up-skill workshops can boost students' confidence in their abilities and increase their sense of competence. By mastering new skills and gaining practical experience, they develop a greater sense of self-assurance, which is invaluable when entering the job market or seeking career advancement opportunities. 5. Networking and Mentorship: Re-skill and up-skill workshops o%en provide opportunities for girls to network with professionals in their field of interest and connect with potential mentors. Building these relationships can open doors to job opportunities, internships, and valuable career advice. Additionally, mentors can provide guidance and support as girls navigate their career paths post- graduation. 6. Demonstrating Initiative and Commitment: Employers value candidates who show initiative and a commitment to continuous learning and improvement. Participating in re-skill and up-skill workshops demonstrates to potential employers that girls are proactive, motivated, and dedicated to their professional development. This can make them more attractive candidates for job openings and advancement opportunities. Overall, re-skill and up-skill workshops provide girls with the tools, knowledge, and confidence they need to succeed in the competitive job market a%er graduating from university. By investing in their ongoing education and professional development, students can position themselves for long-term career success and fulfilment. The Engagement - The Objective21. CurriculumInsight How to develop Killer Ideas - Joint Certificate Overview Coming up with amazing ideas is one of the hardest things in television. If someone is lucky, it could make millions. If someone is not, the rejection letters could be disappointing. So how can someone come up with the killer idea across various genres? Is ideas generation a science or an art? This course will help those who want to work full-time in development as well as those for whom idea generation is an important part of their job, whether it’s as a researcher, producer or director. Where do ideas come from? 1. Science or Art? 2. The 5 stages of development

23. 3. A brief history of successful TV formats and ideas and how they were born. 4. Lateral thinking: what exercises can I do to unlock my creativity? 5. Understanding the commissioning brief 6. Idea generation across specific genres: documentary, specialist factual, factual entertainment and drama Day 1: Seminar based on practical group exercises on how ideas are generated. Day 2: Applying the knowledge from Day 1 to particular genres. This is a day of practical exercises and lateral thinking. Eligibility: Open to all Course Category: Workshop Duration:5 Days Introduction to self-shooting (Internal) Overview This intensive course is aimed at those who have some self-shooting experience but want to take it to the next level. The content is very much dictated by the participants’ familiarisation with the C300 and FS7, making the most of the 'large sensor look’, using prime lenses, shot composition, working handheld and more advanced lighting and sound tricks. Many of the skills learnt in this course can be applied to any camera or shooting format. Hence, this course will be of benefit to students regardless of which camera one has access to. The course will have additional interactive sessions with Program Mentor on Carrier in Entertainment and Media Industry, understanding the present and future landscape, and opportunities in domestic and global markets. Special focus on market size and analysis. Eligibility: Participants should have prior experience with at least one completed assignment in any format including stills. Course Category: Freelancers Duration: 5 Days22. Script reading and reporting Overview Script reading and reporting are often one of the first steps to breaking into the TV or film industry. But, it’s an incredibly important job, with readers playing a crucial role in whether a script is accepted or rejected by a production company. Get it right and one can forge great relationships with producers and execs, as well as potentially bagging oneself which is an elusive first job in development. But how does one go about writing a successful report? How to analyse a script if one never worked in drama before? What are companies looking for and how can you stand out? This course aims to demystify the process of script analysis, sharpen report writing skills and help ways to get a job in the industry. This intensive, practical course covers: 1. An Introduction to the key elements of Script and story analysis 2. An overview of the role script reports play in the industry 3. Look into what production companies want from a successful report 4. How to write a report – looking at style, content and format. 5. A practical exercise involving reading a script and writing own reports using Final Draft, Celtex and Dramatica Pro 6. Feedback on the submitted reports

24. 7. Discussion of how to break into the industry through script reading The course is aimed at anyone interested in working in TV drama, with no previous experience necessary. Specifically, this course is for anyone who would like to learn more about the art of writing script reports. Eligibility : Open to all Course Category: Workshop Duration : 5 Days Directing documentary Overview The good news is that we live in a time when it's incredibly easy to just go out and shoot a documentary. The bad news is that most people's efforts are unwatchable and unsellable. In this intensive 5 day course, students will learn how to develop a documentary idea and turn it into a finished film that an audience will want to see. The first part of each morning will be spent developing the participants' documentary ideas. For the rest of each day, the five aspects of directing a documentary will be explored. By the end of the course, students will be ready to go out and shoot their films. Day 1 - Developing Your Idea How one can discover if their idea is worth turning into a documentary film and ways to develop the idea into something an audience will happily pay money to see. Day 2 - Interview Style & Technique How to take decisions for the appearance in the film and how one chooses them. The students will also look at great interview techniques and five serious mistakes to avoid. Day 3 - Camera, Lights & Style How to translate ideas into the language of film; if anyone wants to make a serious subject funny or a light subject serious and how to decide on an appropriate camera and lighting style. Students will also discover ways to reveal the truth on camera. Day 4 - Editing & Sound Creating drama and emotion through editing; The best way to use sound and music to express the vision as a director. Day 5 - Sell Your Documentary - the method Getting the film made on all budgets and making sure it secures an audience. How to earn a living as a documentary filmmaker. To get the most out of this course, students are advised to bring one or two of their ideas to work on throughout the week. Eligibility: Open to all Course Category: Freelancers Duration: 5 Days CurriculumInsight23. Making Micro-Budget film (Internal) Overview Do participants have a feature script that they would like to turn into a feature film? Do they want to learn from a filmmaker who has a track record of three ultra-low-budget feature films that have all been released in the cinema? This course is aimed at directors who want to go out and make a micro-budget feature (get it screened in the cinema), and it concentrates on the most important things that need to be in place before going out to shoot the film: getting the script right, to dealing with agents to deciding on a look, the basics of knowing where to put the camera, through to working with a composer, and finally getting the film out into the world. The following parameters are included in the study: 1. Choosing content 2. Designing the Pitchbook 3. Scripting and analysis. 4. Bootstrap budgeting. 5. Art of managing available resources. 6. Casting technique 7. Workshop for talents 8. Production planning on bootstrap budgeting. 9. Shoot planning. 10. Disciplinary notes for the crew and cast. 11. Flow chart of the readiness in every craft and department.

25. 12. Flowchart of capture and audio-video post-production parameters. 13. Scoring scope 14. Using Cerebro production software. 15. Marketing & Sales strategy for release. 16. Artwork and Creative collateral. 17. EPK production for PR 18. Festival positioning and pitch. Eligibility: Experience in self-shooting or basic Film Making Understanding Course Category: Freelancers Duration:5 Days Introduction to Advance self-shooting (Internal/Branded course) Overview The practical sellout “Introduction to Self Shooting” course is aimed at those who are new to self-shooting and are looking to develop, embed and hone their skills. This 2-day course will cover all of the essentials for budding self-shooters, giving you the skills and hands-on experience to start filming with confidence. Many of the skills learnt in this course can be applied to any camera or shooting format. With a mix of theory and practical exercises, the course will provide a solid foundation in the skills one needs to get shooting. This course will cover: 1. Camera menu set up 2. Tripod and handheld operating 3. Composition 4. Exposure control and white balance techniques 5. Focus control including depth of field 6. Recording sound 7. Controlled/Uncontrollable action 8. Management of CF cards and media Through a series of practical exercises, participants will learn how to frame and operate the camera both handheld and on the tripod, record good-quality sound and shoot sequences. Participants will review exercises with the tutor and will be given individual feedback. Eligibility: Completed self-shooting initial course Course Category: Freelancers Duration:5 Days CurriculumInsight24. Where do ideas come from (Joint Certificate Program) Overview Some people seem to have an endless pool of ideas for programs. The rest of us usually struggle, believing that we’re not an ‘idea person’. But the ability to find stories isn’t a gift one is born with - it’s a muscle that gets stronger with exercise. This Two -day course explains where ideas really come from and how one can learn to have more of them. Participants will learn some basic techniques about how to dig out interesting real-world stories that have the potential to become documentaries and develop and refine them. By the end of the day, participants will have the beginnings of their own ‘slate’. This intensive, practical course covers: 1. understanding what a documentary idea is 2. how to practice having ideas 3. how to settle on the ‘right’ idea 4. how to develop and refine your ideas 5. understanding the socio-political situation of the present time. 6. audience interest in mapping 7. relevance: present and archival The course is aimed at producers at all levels including Development Producers, Edit Producers, Series Producers, Producer Directors, Assistant Producers, and anyone who wants to know more about developing ideas for programs. Eligibility: Trained Technicians

26. Course Category: Freelancers Duration:5 Days Edit producer (Joint Certificate Program) Overview This course is for those working in unscripted TV, Factual and Specialist Factual or General Entertainment, who want to learn and practice the skills required to become a successful Edit Producer. These new phenomena will create scope for senior editors to reinvent themselves. It’s also intended for newcomers those with Post Producer credits who want to take their craft to the next level. The focus of this course is on popular format shows that make up the bulk of facts in the world. The course will cover: 1. - Edit fundamentals in new-age Cinema & TV 2. - How to cut a Factual Drama, Reality TV, Large format Drama or Feature Film 3. - Techniques of great storytelling using technology interfaces like FCP, AVID etc 4. - Writing Post Production Script 5. - Understanding TV formats: 4K, 8K and above, Imax, Real 3D, 3D Stereoscopic 6. - Managing the multiple edits outlays 7. - Copyright, Compliance and Music 8. - Edit Prep, Post Production, Paperwork, Commentary Recordings. Eligibility: Knowledge of Editing and post-production supervision. Course Category: Freelancers/Corporate/Disabled Duration:5 Days CurriculumInsight25. Working with composers - the life of a Score - Master Class Overview This seminar-based course offers a broad and jargon-free insight into the workflow of media composers and the processes involved in creating music for film and TV. The course is intended as a safe space for working directors, producers and editors, whether or not they have worked with composers before and who are looking to improve their understanding of a crucial but often mysterious aspect of post-production. The course will cover: 1. An overview of the composition process and the tools involved 2. A step-by-step look at the musical journey from initial concept, temp tracks, spotting, writing and demoing material right through to recording and the finished product. 3. Working with your composer, avoiding temp-love and costly pitfalls! 4. Who does what? The structure of a music department, key personnel and their roles. By the end of this course, participants will have a better understanding of how the music for film and television is created and how scoring fits into your project timeline. Whether anyone works in fiction, factual, children’s programming or everything in between, this course aims to demystify the process of composers and encourage a closer creative bond with your composers during production. Eligibility: Drama/TV/Film Producers/Director/Creative Heads Course Category: Freelancers / Corporate Duration:5 Days Casting Actors Overview Aimed at upcoming producers and directors, this new 2-day casting workshop will demystify the casting process from script to selection. On the final day, each participant will be meeting professional actors and casting two lead roles for an original 50-minute TV pilot. Over the two days, participants will learn the techniques on how to get the best out of the actors, prepare for the meetings, get tips and guidance on what to look for in a reading, how to run an effective and productive audition and help in making that crucial casting decision. Included will be the logistics of casting including availabilities, schedules, budget considerations, the etiquette of approaching and making offers to high-profile actors and ensuring that diversity is always evident in the selection of people met and cast. As a producer attending the workshop, one will also have the chance to be involved in negotiating the selection process with one of the directors attending the course. The highlight of the course:

27. 1. Character Sketch Analysis 2. Artist Data Base Study 3. Casting Calls using Digital Platforms/Word of Mouth/ Talent Websites 4. Database compilation and spreadsheet designing 5. Studio Audition / Realtime Virtual Audition 6. Identifying actors as per character requirement 7. Traditional Prosthetics scope 8. Digital Prosthetics enhancement possibility 9. Look dynamics suggestion note preparation for Director, Producer and Creative & Executive Producer 10. Digital First Look preparation with CGI team and plates for approval. 11. Finalisation 12. Legal & Contract execution Eligibility: Casting Directors/ Agents and Talent Agencies Course Category: Freelancers / Corporate Duration:2 Days CurriculumInsight26. Introduction to DIT (Digital Imaging Technician ) & Data Wrangling (Under Skill India Program) Internal Overview This Two-day course is designed to give an introduction to data management in film and television. Participants will learn how to confidently handle a tapeless workflow on a shoot from data leaving the camera to arrival at the post. Participants will get hands-on experience during the course, preparing for the role of Digital Imaging Technician and an opportunity to cover more advanced DIT skills. The course will cover: 1. An overview of current digital camera formats and codecs 2. How to create a workflow document to insurance recognised standards 3. How to securely transfer, organise and back-up camera data to recognised industry standards 4. LUT overview 5. Simple colour correction and transcoding of data for editorial requirements. 6. An overview of more advanced skills such as Live Onset colour correcting, LUT creation, Filter Management and Lens Exposure control. Eligibility: IT Engineers, Post Production Studio Assistants Course Category: Freelancers Duration: 5 Days Interviewing for Documentary (Internal) Overview This two-day course is aimed at documentary filmmakers wanting to get the very best out of their interviewees. The course will show participants the practical, simple interview set-ups for recce shoots and full productions but, more importantly, how to be with their contributors so they feel safe to truly express themselves and how to ask questions so that your interviews become highlights of your films. We’ll critique some startling clips from films where things have gone well – and some which have not. We will work on practical exercises, setting up and recording interviews and critiquing them together. Areas covered will include: 1. setting up an interview shoot without terrifying your subject 2. how to create trust with your interviewee 3. understanding your contributor so you can judge what will work best for them 4. choosing the right lighting, frame, focal length and depth of field for your subject 5. how to ask questions to prompt revealing answers 6. how to ask questions so your editor will love you 7. the importance and influence of sound 8. your responsibility to your contributor – at the time and afterwards 9. how to ask the obvious without being rude 10.why do people talk in front of a camera anyway – often about the most intimate or

28. alarming of subjects Eligibility: Experience in Documentary Production/Journalism Students Course Category: Freelancers/Corporate Duration: 2 Days CurriculumInsightScheduling on Movie Magic (Internal) Overview Quite simply this 1-day course is for production personnel who need to breakdown scripts and schedules using Movie Magic In brief, the course covers: • Getting started on the computer • Creating, adding and deleting elements • Element Information Window • Inserting element quantities and IDs • Renaming, moving and merging elements • Printing outstrips • Clearing, cutting, copying and pasting strips • Sorting and selecting strips (basis) • Setting the calendar, setting the day breaks and banners • Re-ordering and saving schedules • Page set-up • Picture information • Printing out default schedules and Movie Magic Scheduling • Modifying reports and strips Eligibility: Directors/Creative Head/Screen Writers Course Category: Freelancers/Corporate Duration: 5 Days Introduction to Production Accounting (Internal) Overview An up-to-date, interactive look at the role of production accountant across Film and TV, tailored to the needs of the participants. Aimed at Assistant Production Accountants making the move to Production Accountants, Accountants thinking of moving to Film and TV Production Accounting, Producers wishing to gain insight into the wider role of Production Accountants and Production Accountants returning or moving genres. Areas covered include: 1. Budgets 2. Development costs 3. Post Production 4. Locations 5. Insurance/Finance/Legal 6. Call Sheets 7. Progress reports 8. Working with a Producer 9. Production accounting roles & responsibilities 10. Legal Issues & Constraints 11. Cost implications 12. Cost reporting 13. Cashflows 14. Organisational and Project Management Skills By the end of the course, participants will have an awareness of the entire production process, insight into a Production Accountant’s role, responsibilities & relationships, and an improved, up-to-date understanding of the Programme Budgets, Cost Drivers and Cost Reports. Eligibility: Production Management personnel / CA/ Production Finance personals Course Category: Freelancers/Corporate Duration: 7 days CurriculumInsight 27.28.

29. Storytelling for Business (Internal) Overview Learn how to use the power of storytelling to communicate your message and win support from stakeholders in an intensive, highly motivational and interactive course. Stories are part of the very essence of being human. For a million years we’ve been making up stories to make sense of life, to share the things we fear or desire. This primal need is instilled within us - we download books, binge-watch TV series and gorge on stories with the same enthusiasm as our ancestors. Media knows this, politicians know it, and smart businesses are aware of it. They all try to reach out to us by creating narratives we can relate to, narratives we can - often literally - buy into. To tell a good story isn’t merely a fun pastime, it’s a survival technique, and a powerful tool in communicating our thoughts and needs with those around us. Every leader and manager needs this talent, every professional, every friend, every parent, and every human being. The good news is, it’s a talent we can all develop through a set of skills we can learn. Students will learn how to create a story by using storytelling techniques, and how to make the mundane sound exciting. Participants will learn how to become a captivating storytellers by learning how to connect with an audience - authenticity, voice, rhythm, body language and more. How to deal with nerves and adapt to unexpected circumstances. We’ll look at the value of A/V support and what actually makes a presentation gripping; portfolios, slides and how not to (over)use them. How to use storytelling as part of multimedia presentations. Above all, you will practice, with exercises for optimising skills, building confidence and more, all with tutor guidance and feedback. Eligibility: Directors/Creative Head/Screen Writers Course Category: Freelancers/Corporate Duration: 5 Days Developing & Pitching Drama (Internal) Overview This two-day course is for producers, script editors, writers, and people with ideas of making feature films or television dramas. The course explores how best to develop drama proposals, script outlines, or un-commissioned scripts and target/pitch these to potential financiers, sales agents and distributors. This course will make any creative person think realistically about their ideas and provide a framework for going forward. If someone has been struggling on their own, it will give invaluable feedback, suggestions and ways of packaging their ideas. Topics to be covered include: 1. the role of the producer 2. how to develop a story 3. options and contracts 4. how to look for finance 5. Making PitchBook 6. Project development Book In order to make the course most beneficial, we advise participants to come armed with a couple of ideas that they can work on throughout the course. Eligibility: Students with Creative DNA/ Writers/Content Developers Course Category: Freelancers/Corporate Duration: 5 Days CurriculumInsight29. Producing a successful Short film Overview It's so easy to just go out and make a short film. However, it’s rare to create a great short film that truly engages an audience. The course leads participants through the good, the bad and the ugly of making short films with the ultimate goal of creating shorts that audiences, festivals and distributors will love. This seminar-based course will cover areas such as: 1. Avoiding short film clichés 2. Would you pay to watch it? 3. Is it better to be funny or serious? 4. Using improvisation in the writing 5. Playing with irony

30. 6. Should a short follow the 3 act structure? 7. Other screenwriting rules 8. Improving your script 9. The casting process 10.Professional actors versus non-professionals 11.Directing the actors 12.Do you shoot it differently from a feature film? 13.Editing, music and sound design 14.Launching career Eligibility: Students with Creative DNA/ Writers/Content Developers Course Category: Freelancers/Corporate Duration: 2 Days Set Ready: Working in the Costume Department Overview This course prepares to work in the Film and TV Costume department. This course gives insights into the roles, principles and practices of this dynamic and creative department. The course takes any existing costume knowledge and experience participants have and gives them what they need, to be Set Ready for work specifically in film and TV. Please note that this is a classroom-based course and not a practical Costume Design course. There is not any design or making element to the course. It covers script breakdown, the work involved in pre-production and preparing to shoot, how the costume department operates on set, how to enter the costume department and the materials and skills you need in the various roles. Part of the course will also focus on how the costume department interacts with the make-up department. Eligibility: Participant with knowledge of costumes and styling Course Category: Freelancers/Corporate Duration: 5 Days CurriculumInsight30. The Special Course Module Specialized courses such as method acting, VFX, online cinema education, broadcasting, and internet radio production offer students at the Centre of Advanced Cinematic Research and Studies (CACRS) a wide scope for professional growth and creative exploration. Method acting immerses students in the psychological depth of character portrayal, enhancing their ability to evoke authentic and compelling performances on screen. VFX courses equip students with the technical skills to create stunning visual effects, enriching storytelling and expanding creative possibilities in filmmaking. Online cinema education provides students with accessible and flexible learning opportunities, enabling them to engage with industry experts,

31. masterclasses, and cutting-edge resources from anywhere in the world. Broadcasting courses prepare students for careers in television and radio, offering hands-on experience in program production, scriptwriting, and media management. Similarly, internet radio production empowers students to harness the power of digital media, fostering creativity and communication skills in a rapidly evolving media landscape. Together, these specialized courses at CACRS nurture diverse talents, inspire innovation, and prepare students for success in the dynamic and competitive field of media and entertainment.31. VFX Broadcast ACTING ONLINE The Special Course Module Detailed Course material are available on request32. Designing for Cinema Unique Collaborative Platform for Audio Books and Radio Production The Special Course Module Detailed Course material are available on request33. The Special Course Module Music For Cinema IPR Law & Practice Detailed Course material are available on request34. The Annual Events and Beyond Organizing events like the Documentary Film Festival, Regional Film Festival, and BRICS Music Summit in collaboration with the Centre of Advanced Cinematic Research and Studies (CACRS) presents a multitude of opportunities and benefits. Firstly, these events serve as platforms for showcasing emerging talent, both locally and globally. By providing a stage for filmmakers, musicians, and artists to exhibit their work, students foster creativity and celebrate diverse voices in the arts and entertainment industry. Secondly, these events facilitate knowledge exchange and networking opportunities. Bringing together industry professionals, scholars, and enthusiasts, they create spaces for

32. dialogue, collaboration, and learning. Participants have the chance to engage in panel discussions, workshops, and masterclasses, gaining insights into the latest trends, technologies, and best practices in their respective fields. Furthermore, organizing such events enhances the college’s reputation as a hub for arts and culture. By hosting prestigious festivals and summits, the the centre attracts attention from the media, sponsors, and stakeholders, bolstering its standing as a leader in the creative arts and entertainment sector. Moreover, these events contribute to the cultural enrichment of the local community. By offering access to world-class cinema, music, and cultural experiences, they promote cultural exchange, appreciation, and understanding, enriching the social fabric of India and beyond. Additionally, organizing events like the BRICS Music Summit strengthens international partnerships and collaborations. By bringing together musicians and artists from BRICS nations, the event fosters cultural diplomacy and enhances cross-cultural dialogue and cooperation. Overall, organizing events like the Indian Documentary Film Festival, Indian Regional Film Festival, and BRICS Music Summit aligns the institutes’ commitment to promoting excellence, innovation, and inclusivity in the arts and entertainment industry, while also enriching the cultural landscape of the region and fostering global connections.35. The in-house production portfolio offers several advantages, serving as both a source of revenue for students and the Center of Advanced Cinematic Research and Studies (CACRS). 1. Hands-on Experience: Producing in-house projects provides students with practical experience in all aspects of filmmaking, from pre-production to post-production. This hands-on experience is invaluable for students looking to enter the film industry, as it allows them to apply theoretical knowledge to real-world projects. 2. Professional Development: Working on in-house productions allows students to develop their skills and talents in a supportive and educational environment. They have the opportunity to refine their craft, collaborate with peers, and receive guidance and feedback from experienced faculty members. 3. Portfolio Building: In-house productions serve as valuable additions to students' portfolios, showcasing their abilities and creativity to potential employers and collaborators. These projects demonstrate students' proficiency in various roles, such as directing, producing, cinematography, and editing, and highlight their unique artistic voices. 4. Revenue Generation: Successful in-house productions have the potential to generate revenue for both students and the CACRS. Revenue streams may include ticket sales for screenings, distribution deals, merchandise sales, and licensing agreements. These funds can be reinvested into the program, allowing for the production of more ambitious projects and the purchase of equipment and resources. 5. Industry Connections: Producing in-house projects allows students to establish connections within the film industry, both locally and nationally. Collaborating with industry professionals on these projects can lead to internship opportunities, job offers, and networking connections that benefit students as they transition into their careers. 6. Promotion of Talent: In-house productions provide a platform for showcasing the talents of students and faculty members at Banasthali Vidyapith.

33. These projects raise the profile of the university and the CACRS within the film community, attracting attention and recognition for the quality of work being produced. Overall, the in-house production portfolio offers numerous advantages for students and the CACRS alike, providing valuable experience, revenue opportunities, and industry connections that contribute to the success and growth of the program. In-House Production Portfolio- Shift in Paradigm36. Production Decks are available on request Proposed Production Pipeline for On Set Internship37. Proposed Post Production Facility38. Industry-branded courses in technology for the Center of Advanced Cinematic Research and Studies (CACRS) offer several advantages: 1. Relevance to Industry Needs: Courses branded by industry leaders are designed in collaboration with professionals who understand current industry trends and requirements. This ensures that students are equipped with skills and knowledge that are directly relevant to the needs of the industry, enhancing their employability upon graduation. 2. Access to Cutting-Edge Technology: Industry-branded courses o#en provide access to state-of-the-art technology, so#ware, and equipment used in professional settings. This hands-on experience with industry-standard tools prepares students to seamlessly transition into their careers and excel in their roles from day one. 3. Industry Connections and Networking Opportunities: Collaborating with industry partners through branded courses opens doors to valuable networking opportunities. Students have the chance to interact with industry professionals, attend guest lectures, and participate in workshops and events, paving the way for internships, job placements, and mentorship opportunities. 4. Internship and Placement Opportunities: Industry-branded courses o#en include internship or placement components, allowing students to gain real-world experience and build connections within the industry. These opportunities provide invaluable insights into industry practices, culture, and expectations, helping students make informed career choices and secure employment post-graduation. 5. Enhanced Prestige and Recognition: Partnering with renowned industry brands enhances the prestige and recognition of the CACRS and its programs. Students graduating from industry-branded courses carry the endorsement of reputable companies, increasing their credibility and marketability in the eyes of employers. 6. Continuous Updates and Support: Industry partners o#en provide ongoing support and resources to ensure the curriculum remains up-to-date with evolving industry standards and practices. This commitment to continuous improvement ensures that students receive relevant and high-quality education that meets the demands of a rapidly changing technological landscape. In conclusion, industry-branded courses in technology offer a myriad of advantages for students at the CACRS, including relevance to industry needs, access

34. to cutting-edge technology, networking opportunities, internship and placement opportunities, enhanced prestige, and continuous updates and support. These courses empower students to thrive in the competitive world of cinema and technology, positioning them for success in their future careers. Branded Course and Industry Association34. Proposed Technology and Knowledge Partners 39.In the vivid mosaic of creative ventures, Bibhash emerges as a luminary, his journey through the realms of filmmaking akin to a poetic odyssey. With a masterful touch, he weaves tales both profound and captivating, traversing the landscapes of advertising, documentary, and music videos with equal finesse. A visionary at the forefront of technological innovation, he introduces High Definition to Bollywood's canvas and pioneers groundbreaking visual effects techniques. From international musical extravaganzas to televised cultural events, his directorial prowess shines, etching stories of beauty and resonance. In the heart of India's cultural tapestry, he curates a rich library of visual narratives, celebrating the essence of Indian artistry. Through his studios and educational initiatives, like the groundbreaking modern cinema studies program, recognized by a government university for the first time in India, he nurtures the next generation of cinematic talent. His creative acumen extends beyond the director's chair as he crafts promos for eminent filmmakers such as Ram Gopal Verma and Prakash Jha, and others leaving an indelible mark on the landscape of content development methodology for large-format production. Notably, Bibhash has spearheaded over 20 production projects based on acclaimed literature, authored by luminaries such as M.J. Akbar, Shashi Tharoor, and Amatava Ghosh, Dr Bibek Debroy, Kunal Basu, Aroon Manilal Gandhi among others. His pioneering efforts extend to the realm of intellectual property development for online ventures in the entertainment industry, elevating the landscape of digital storytelling. With three decades of experience as his guide. With each endeavour, Bibhash leaves a legacy of innovation and excellence that reverberates through the corridors of cinema, he lives in Mumbai with a Classical Singer Wife and two Sons who hail from the same Industry. BIBHASH. B. MUKHERJEE, FOUNDER DIRECTOR & CACRS COURSE DESIGNER10. iGlass Mediaworks Crea ve civilisa on is e pinnacle of human expression, where socie es flourish rough innova on, diversity, and resilience. At its core, crea ve civilisa on celebrates diversity, weaving toge er e rich tapestry of human experience. From ancient marketplaces to Renaissance salons, it embraces e mul tude of cultures, beliefs, and perspec ves at shape our world. Fuelled by curiosity and a irst for knowledge, crea ve civilisa ons push e boundaries of understanding. From e laboratories of Alexandria to e academies of e Indian Golden Age, ey propel progress rough innova on and crea vity. Crea ve civilisa on, as evidenced by e tapestry of human history, finds profound expression in e annals of Indian an quity and modern academic pursuits.

35. Yet, it is in mes of adversity at e true essence of crea ve civilisa on shines. Through wars, oppression, and hardship, crea vity becomes a beacon of hope, guiding socie es forward wi resilience and ingenuity. Today, as we face unprecedented challenges, e essence of crea ve civilisa on calls upon us to embrace diversity, cul vate curiosity, and harness e power of crea vity for posi ve change. It is a legacy at inspires us to dream, create, and shape a be er future for genera ons to come. We are truly global and profound Indian. Media Education Consultancy Content Development and Production Educational Streaming and COD Branded Events Licensing and Franchise903, A wing Akansha Tower, Panch Marg, Off Yari, Versova, Andheri (W) Mumbai-400061 India bibhashmukherjee@hotmail.com Phone: +91-9920068491