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SRM UNIVERSITY
No: 1, Jawaharlal Nehru Road, Vadapalani, Chennai 600026.
SEMESTERS I & II
SRM SIVAJI
GANESAN FILM INSTITUTE
FACULTY OF SCIENCE & HUMANITIES
SRM UNIVERSITY
No: 1, Jawaharlal Nehru Road, (100 feet Road, Near Vadapalani
Signal) (Formerly TCS Software Company Building),
Vadapalani, Chennai 600026.
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SRM SIVAJI GANESAN FILM INSTITUTE
FACULTY OF SCIENCE AND HUMANITIES
SRM UNIVERSITY
DIPLOMA IN FILM ACTING (DFA)
Regulations
SEMESTER PATTERN
(Effective from the Academic Year 2010 2011)
1. AIM OF THE COURSE
Rationale: To assist the aspiring students /actors make the transition from
a lay person to an accomplished actor, before a medium called THE
CAMERA.
2. OBJECTIVE:
Students will understand both practical and artistic issues that must be
taken into consideration when acting for the camera such as continuity
problems, hitting their mark, toning down their projection and displaying
scenic reality. They will determine their on camera strengths and learn to
accentuate them. They will be trained with basic knowledge in film acting
particularly in core areas like improvisation, body language, mime,
movement, voice, speech and diction. At the end of course, the students
will be well versed in above mentioned areas.
3. ELIGIBLITY FOR ADMISSION
Minimum Qualification for the candidates to be admitted in the course for
the Diploma in Film Acting shall be required to have passed the Higher
Secondary Examinations (Academic or Vocational stream, any group )
conducted by the Govt. of Tamilnadu or an Examination accepted as
equivalent, by the syndicate of S.R.M. University (or) Shall be required to
have passed 10+3 (S.L.L.C Secondary School Leaving Certificate plus
three year Diploma in any stream conducted by State Governments of
India and Directorate of Technical Education respectively) or an
Examination accepted as equivalent, by the Syndicate of SRM University.
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from the commencement of the first year to which the candidate was
admitted
A student shall be declared to be eligible for the award of the DFA
provided,
a) The student has successfully completed the course requirements and
had passed all the prescribed examinations in one year or within a
maximum period of 3 years reckoned from the commencement of the first
semester to which the candidate was admitted.
b) He/She earns a progress certificate from the Head of the Institution for
having satisfactorily completed all the courses pertaining to the year, as
judged by internal assessment.
c) His /Her conduct has been satisfactory throughout the academic year.
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7. PASSING MIMIMUM
A candidate shall be declared to have passed in each paper /practical of
main subject of study wherever prescribed, if he/she secures NOT LESS
THAN 40% of the marks prescribed for the examination. He /She shall be
declared to have passed the whole examination, if he /she pass in all the
papers and practical in Internal and External separately.
8. CLASSIFICATION OF SUCCESSFUL CANDIDATES
a) Successful candidates passing the examination and securing the marks (1)
60 percent present and above and (ii) 50 percent and above but below, 60
percent in the aggregate shall be declared to have passed the examination
in the FIRST and SECOND class, respectively. All other successful
candidates shall be declared to have passed the examination in the
THIRD CLASS.
(b) Ranking
Candidates who pass all the examinations prescribed for the course in the
FIRST APPEARANCE ITSELF ALONE are eligible for Classification
/Ranking /Distinction.
9. EXAMINATION
The examinations will ordinarily be conducted during November and
April of each academic year. For all theory courses, question papers will
be set by external examiners and valued by one examiner.
All Practical Examinations will be conducted by internal and external
examiners appointed by the university.
The maximum marks for theory will be 100 comprising 25 marks for
internal assessment and 75 marks for the final examinations. And the
maximum marks for practical will be 100 Marks comprising 25 marks for
internal assessment and 75 marks fur the final practical examinations.
Total - 25 Marks
(PRACTICAL COURSES)
For regularity - 05 Marks
For satisfactory completion of all
Exercises prescribed for the course - 10 Marks
For model Examination at the end of the year - 10 Marks
Total - 25 Marks
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A candidate who secures not less than 40% of total marks prescribed for
any course shall be declared to have passed in the examination for that
course
If a candidate fails to secure a pass in a particular course, it is mandatory
that he/she register and reappear for the examination in that course during
the next year when examination is conducted in the course. He/she should
continue to register and reappear for the examination till he/she secures a
pass. However, the internal assessment marks obtained by the candidate in
the first attempt shall be retained and considered valid for all subsequent
attempts.
10 b) Scheme of Examination Theory (Maximum 100 Marks)
Part A
To answer 5 questions 10 x 2 Marks = 20 Marks
(No choice)
Part B
To Answer 5 questions 5 x 16 Marks = 80 Marks
Out of 10 Questions
Either or choice Total = 100 Marks
The external examiner will conduct a viva on the particular subject along
with the practical/project record submissions from the students and marks
will be awarded accordingly.
13. DISCIPLINE
Every student is required to observe discipline and decorous behavior both
inside and outside the college and not to indulge in any activity which will
tend to bring down the prestige of the University / College. Boys & Girls
should wear decent dresses.
14. REVISON OF REGULATION AND CURRICULUM The University may
from time to time revise, amend or change the regulations, scheme of
examinations and syllabi as found necessary.
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1. LIST OF GUEST / VISITING FACULTY
Bharathiraja
Cheran
R.K.Selvamani
Vikraman
K.S.RaviKumar
P.Vasu
Vasanth
Yugi Sethu
Y.G.Mahendran
S.P.Muthuraman
V.Sekar
V.C.Guhanathan
R.Parthiban
Samudrakani
Directors Amir
Sasi Kumar
Revathi
Suhasini
Budda Deb Das Gup ata (Ben gali Director)
Jahnu Barua (Assamese Director)
Girish Kasaravalli (Kannada Director)
M.T.Vasudevan Nair (Malayalam Writer
D idroeoc troG
A r )o p a l a k r i s h n a n ( M a l a y a l a m D i r e c t o r )
Shaji N.Karun (Malayalam Director)
Shyama Prasad (Malayalam Director)
Lenin Rajendran (Malayalam Director)
Sathyan Anthikkad (Malayalam Director)
T.V.Chandran (Malayalam Director)
K.S.Sethumadhavan (Malayalam& Tamil
D .iV
K r e. cA
t onra) n d
Sunny Joseph
Cinematographers Alp honse Roy
Santhosh Sivam
Thangar Bachan
Lakshminarayan
Moorthy
Sound Engineers Unni (Trivandrum)
Hari (Trivandrum)
G. Tharanipathy
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Vidya Sagar
Music Di rectors Bharadwaj
Gangai Amaran
Editor B.Lenin
Jaya Kumar (JK)
Art Directors Thotta Tharani
Krishna Moorthy.P
Special Effects Brian Jennings
AVM Saravanan
Ramesh Prasad
Rama Narayanan
Producers G.Ramkumar
S.Thanu
Sivasakthi Pandian (Lakshmi Movie Makers)
Thiyagarajan (Sathya Jothi)
Prakash Raj
Sathya Raj
Prasanth
Actors Kushboo
Archana
Rohini
Sayaji Shinde
Muthu Ganesh
Amshan Kumar
Ravi Subramaniam
Lekha Rathnakumar
Rajendrababu
Y.V.Subramaniam
Dr.Gopalie
Rajend ran (National sch ool of Drama)
Visiting Faculties
Indiran
Parveen Sulthana
V.Arun
Dhanya Bhaskaran
Ayyappa Prasad
R.N. Subramaniam
Jean Gifty
Prajesh
Neelakandan
Jayasree Sreedhar
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Krithika Natarajan
Vasanth Dev
Vasanthi
Murali
Babu
Prof. Narayanan
Rathina Sabhapthy IPS
Babu Ramasamy
G. Tharanipathy
M.M. Rengasamy
Vasanthi Sampath
Balraj
Venkatesh
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SYLLABUS FOR DIPLOMA IN FILM ACTING
Ist SEMESTER
THEORY
THEORY /
SL.NO SUBJECT NAME OF THE PAPER MARKS
CODE: PRACTICAL
PRACTICALS
10
HISTORY OF CINEMA
FIRST YEAR - FIRST SEMESTER
UNIT 3:
Evolution of Technique and Aesthetic development of Cinema Special
Reference to: V.I Pudovkin and Einsenstein Vittorio de sica - Fredrico Fellini
Roman Polanski Francois Truffaut Jean Luc godard R.W. Fassbinder -
Ingmar Bergman David Lean Fritz Lang Alfred Hitchcock Charlie
Chaplin Akira Kurosawa - Studio system Hollywood city Oscar awards
International Film festivals and awards.
REFERENCE BOOKS:
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INDIAN ART AND CULTURE
FIRST YEAR - FIRST SEMESTER
UNIT: 1
a) Indian Aesthetics
b) Spiritual and philosophical background of Indian Art
c) Theory of Rasa
d) Rasa in relation of Music, Painting and Dance
e) The inter relationship of the Arts
UNIT : 2
UNIT: 3
a) A brief introduction to Indian Music Folk, Tamil Music and Carnatic
Music.
b) Indian Music Vs Western Music
c) Hindustani Music : Amir Khan, Ghulam Ali Khan, Kumar Gandharva,
Kishori Amonkar, Bhimsain Joshi, Ravi Shankar, Hari Prasad Chourasia etc.
d) Carnatic Music: M.S. Subbulakshmi, Ariakkudi, Chembai, GNB, main Iyer,
MD Ramanathan, D.K. Jayaraman, mdurai Somu, Balamurali Krishna etc.
e) Instrumental music : Violin, Sitar, Veena, Flute, Nadaswaram etc
f) Rhythmic instruments : Mirudangam, Tabla, Chenda, parai, etc
g) Film music: past to Present Contributions of Naushad, S.D.Burman,
M.S.Viswanathan, Salil Choudhry, Ilaya Raja, A.R.Rahman and others.
13
UNIT: 4
a. Indian Theatre Tradition and Modern
b. Kalidasa Modern Theatre: Contributions of Alkazi Habib Tanwir, Ratan
Thiyam,
c. Girish karnad, Vijay Tendulkar, Jabbar patel Koothu Pattarai Main
elements of
d. Theatre: Style of Acting, Costumes, Stage Design, Music, Light and
Sound.
UNIT: 5
a. Indian classical Dance Forms: Kathak, Bharathanatyam, Odyssey,
b. Manipuri, Mohiniattam, Kuchipudi etc.
c. Brief introduction to Folk and tribal dance forms
d. Brief introduction to Traditional and modern painting
e. Ajanta, Ellora,Rajaputana, Chithannavasal etc.
f. Modern painters : Jamini Roy, J.Swaminathan, M.F.Hussain Ara,
K.M.Panicker, Adimoolam etc.
REFERENCE BOOKS:
1. Classical Indian Dance in Literature and the Arts Kapila Vatsyayan
2. Art of India Prehistory to the Present Frederick M.Asher, Britannica
3. Encyclopedia of India Vol. I. Britannica
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ACTING ANALYSIS I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 103)
OBJECTIVE:
After the screening of a film, students must be able analyse the acting. And
also evaluate the overall narrative functions of the film. Each students is
expected to explore the body of film work of an actor and finding moments
that will best exemplify the techniques of acting. This has to be discussed in
a class. One can be a capable actor and one can not be a capable actor. It
works best when you split up films to watch and get together to share and
discuss what makes a moment great, mediocre, or just ineffective.
UNIT I
Films as a medium of communication Intra-personal communication, inter
personal communication, Group communication, Mass communication
SMCR Method.
UNIT II
Theatre performance vs screen acting Understanding of (a) Film form, (b)
Shot break down (c) and framing.
UNIT III
Study of characters, body language, Character traits, gestures, facial
expression and Emotions.
UNIT IV
Theory of continuity. Understanding space and time. Action continuity,
dialogue continuity. Costume continuity, Make up continuity and Emotion
continuity.
METHODOLOGY:
The following films which have won awards for best performances from all
over world will be screed weekly and after the screening students will have to
submit assignments on the above mentioned aspects. The internal assessment of
the students will be based on their assignment submissions.
REFERENCE BOOKS:
16
PRACTICAL - 1
IMPROVISATION I
OBJECTVIE:
more explicit.
5. Types of improvisation
i. Solo improvisation
v. Guided improvisation
RFERENCE BOOKS:
House 1986.
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PRACTICAL - 2
SPEECH AND DICTION
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 202)
OBJECTIVE:
1. Understanding the meaning of text and sub text and tonal values
timing sense.
REFERENCE BOOKS:
18
PRACTICAL - 3
BODY LANGUAGE - I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 203)
OBJECTIVE:
postures.
application in Acting.
REFERENCE BOOKS:
Pease.
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PRACTICAL - 4
OBJECTIVE:
3. How to act and react for the camera imagining it as the co-artiste.
instrumental music.
REFERENCE BOOKS:
20
PRACTICAL - 5
VOICE TRAINING
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 205)
OBJECTIVE:
REFERENCE BOOKS:
21
PRACTICAL - 6
SCENE PRACTICALS I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 206)
OBJECTIVE:
REFERENCE BOOKS:
22
PRACTICAL - 7
DANCE PRACTICALS I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 207A)
OBJECTIVE:
UNIT I - BHARATHANATYAM
piece)
Learning the basic steps, different types of dances - Rock, RAP and HIP
movements, steps to suit the camera position, angle and its movements,
23
Methodology:
by video camera.
Reference Books:
Sudhakar.
24
PRACTICAL - 8
STUNT PRACTICALS I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 208A)
OBJECTIVE:
To make the students understand the importance of training in stunts
that would help in their acting career.
Unit I
Unit II
Unit III
Unit IV
Unit V
Methodology:
A stunt master will be visiting every week to train the students. At the
later stage of the semester, the choreographed fight sequences by the
stunt master for the students will be shot in video camera. It will be later
projected on screen for any corrections.
References Books:
25
PRACTICAL - 9
YOGA & MEDITATION I
FIRST YEAR - FIRST SEMESTER
SUBJECT CODE: (DFA 210A)
OBJECTIVE:
1) Practicing Yoga will make the acting students gain the flexibility of
attaining different types of gestures and postures.
it will help them to over home complaints like Diabetics, Aasthma and
column will be strengthened and they will be free from Thyroid mal-
UNIT IV SALABASANAM
free from constipation and their kidneys and hip muscles will be
strengthened.
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UNIT V DHYANA - (Meditation)
that they can improve their memory and blood circulation power and
METHODOLOGY:
REFERENCE BOOKS:
27
PRACTICAL - 10
IMAGINATION AND TRANSFORMATION
FIRST YEAR FIRST SEMESTER
SUBJECT CODE: (DFA 223)
OBJECTIVE:
1. Practice of observation.
2. Practice of Imitation
perception.
Reference Books:
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SYLLABUS FOR DIPLOMA IN FILM ACTING
2nd SEMESTER
THEORY
SL.NO SUBJECT NAME OF THE PAPER THEORY / MARKS
CODE: PRACTICAL
PRACTICALS
1.
DFA211A IMPROVISATION - II PRACTICAL 100
2.
DFA212A SCENE PRACTICALS II PRACTICAL 100
3.
DFA213A BODY LANGUAGE II PRACTICAL 100
4.
DFA216 DANCE PRACTICALS - II PRACTICAL 100
5. DFA217 PRACTICAL 100
STUNT PRACTICALS - II
10.
DFA222 MIME AND MOVEMENT-II PRACTICAL 100
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FILM AS AN ART
FIRST YEAR II SEMESTER
SUBJECT CODE (DFA104A)
UNIT : I
The work of film production, Technical factors in film production, social
factors in film production, after production: Distribution and exhibition.
UNIT: II
The shot: Mise-en-scene Realism, the power of Mise-en-scene, Aspects of
Mise-en-scene, space and time, narrative functions of mise-en-scene.
UNIT : III
The shot: Cinematographic properties, the photographic image, framing,
duration of the image, montage and long take.
UNIT: IV
The Relation of shot to shot: Editing, dimensions of film editing, continuity
editing, alternative to continuity editing.
UNIT : V
SOUND IN CINEMA: The powers of sound, fundamentals of film sound,
dimensions of film sound, and functions of film sound.
Reference Books:
1. Film Art: An Indroduction: David Bordwell, Kristin Thomson, Prentice
Hall of India (p) Ltd, New Delhi, 1985.
2. Film as an Art: Rudolf Arnheim, University of California press, 1966.
3. The concepts in film theory: Dudley Andrews, Oxford University press,
New York, 1984.
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ORIENTATION AND ACTING THEORIES
FIRST YEAR - SECOND SEMESTER
SUBJECT CODE (DFA105)
UNIT-1
Acting Definition, Origin and Development of Acting, Allied forms of
Acting, Styles of Acting (Classical, Romantic, Realistic, Non-Realistic,
natural, Experimental and Personal Styles)
UNIT-2
Tholkappiars-Tholkappiam and BharathaMunis-Natya-Sastra on
Acting, Stanislavski Method Acting, Stras-berg Method Acting,
Mayorhold Bio-Mechanics, Bretolt Brecht- Alienation Method (Epic
Theatre) Stage and Film Acting.
UNIT-3
Exercises for an Artist Observation, Concentration, Imagination,
Imitation, Mental, Vocal, Physical Exercises, Improvisation, Mime
Transformation, Scene Practicals, Dance, Stunt, Yoga, Horse Riding,
Swimming etc.
UNIT-4
Relationship between an Artiste and other technicians in the film, Get
light and Act Continuity Maintenance, Understanding Camera / Mike
Positions and Act, Dubbing Understanding co-artist performance and
reacts, Text-sub-text, Five Element Dialogue and its inner meaning, Magic
If, Tragedy, Comedy, Melodrama Farce, Burlesque, Physiological,
Sociological, Psychological Behavior, Star and Artiste.
UNIT-5
i. Direction:
Script, Synopsis, Scenario Treatment, Dialogue, Script Discussion,
Charactors -Actors, Sequences, Scenes, Breakdown of scenes as per the
locations and artistes, Responsibilities of the film director, Film as the
medium of the director
ii. Cinematography:
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Still / Movie camera Lenses, Filters, Various types of shots,
Camera movements and Basic knowledge of Film processing.
iii. Sound:
iv. Editing:
REFERENCE BOOKS:
32
ACTING ANALYSIS II
FIRST YEAR - SECOND SEMESTER
OBJECTIVE:
UNIT I
UNIT II
UNIT III
History of character.
UNIT IV
UNIT V
METHODOLOGY:
The following films which have won awards for best performances from all
over world will be screened weekly and after the screening students will have
to submit assignments on the above mentioned aspects. The internal assessment
of the students will be based on their assignment susmissions.
2. One flew over the Cukoos Nest 1975 for Jack Nicholson
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3. Raging Bull 1980 for Robert De Niro.
10. Best Actor/ Oscar/ National award winning film for the year.
REFERENCE BOOKS:
34
PRACTICAL - 2
SCENE PRACTICALS II
OBJECTIVE:
front of the
1. Study of various shots and studying how to perform for each of it.
5. Dubbing exercises.
REFERENCE BOOKS:
35
PRACTICAL - 3
BODY LANGUAGE II
OBJECTIVE:
REFERENCE BOOKS:
Pease.
36
PRACTICAL - 4
DANCE PRACTICALS - II
OBJECTIVE:
To make the students learn about the advanced stages of different
dance forms and preparing them suitable for the popular film-making.
UNIT I - BHARATHANATYAM
Learning to dance with expressions non-stop for a full song, with Timing
and Rhythm.
UNIT IV
Learning the steps to suit the songs Learning about camera angle and
positions, cut shots, zoom shots, close shots, mid-shots and long
shots Learning to dance for full song (non - stop).
UNIT V
Learning about dress sense, costumes and make up Each and every
student has to dance all the styles.
Methodology:
A dance master will be visiting every week to teach the subject and
demonstrate as to how to dance while shooting. He will correct the
mistakes of the students on projection of practice sessions shot by video,
camera.
References Books:
37
PRACTICAL - 5
STUNT PRACTICALS - II
OBJECTIVE:
To make the students understand and train in the advanced levels of film,
stunts that would help in their acting career.
Unit I
Rollings and fallings Different methods.
Unit II
Advanced solo fights and fallings
Unit III
Weapon fights using different weapons
Unit IV
Rope works
Unit V
Final fight sequence
Methodology:
A stunt master will be visiting every week to train the students in the
advanced - levels of film-stunts. At the later stage of the semester, the
choreographed fight sequences by the stunt master for the students will
be shot in video camera. It will be later projected on screen for any
corrections.
References Books:
1. In a Door, into a Fight, Out a Door, into a Chase: Moviemaking
Remembered by the Guy at the Door by Williamn Witney
2. Stage Combat: Fisticuffs, Stunts, and Swordplay for Theater and Film by
Jenn Zuko Boughn
3. Stunt Man: The Autobiography of Yakima Canutt With Oliver Drake by
Yakima Canutt and Oliver Drake
4. The Stunt Man by Paul Brodeur
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PRACTICAL - 6
MAKE-UP
OBJECTIVE:
To make the students understand the importance and make-up and how
REFERENCE BOOKS:
by Graphic Sha.
2. Special Makeup effects for stage and screen acting and applying
4. Period Hair styles for studio stage and screen - by Spencer Kit.
39
5. Costume and Make-up - Phaidon Theater Manuals by Michael Holt.
by Graphic Sha.
Turner.
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PRACTICAL - 7
COSTUME
OBJECTIVE:
UNIT - I
UNIT - II
UNIT - III
METHODOLOGY:
Films which have won awards for costumes will be screened periodically.
After the screening, students will have threadbare discussions in the class
41
REFERENCE BOOKS:
Wilcox R. Turner.
42
PRACTICAL - 8
OBJECTIVE:
1) Practicing the advanced Yoga postures will make the acting students
gain the flexibility of attaining different types of gestures and postures
facial expression and voice modulation
function will be improved and they will be free from any type of illness.
UNIT II - DHANURAASANA
muscles will be strengthened and they will be free from gastric disorders
The students will be trained to practice in this Posture so that they will
43
UNIT V - DHYANA (Meditation) KAAYAKALPA
technique so that they will be free from any mental-disorders and this
METHODOLOGY:
REFERENCE BOOKS:
Adamson.
Sarasaswathi.
***************************
44
PRACTICAL - 9
VIDEO PRACTICALS
SECOND SEMESTER
OBJECTIVE:
camera and learn its nuances and intricacies. It will give them self confidence
when they enter the film industry. At the end of the semester a short film with a
maximum duration of 20 minutes will be made where all the acting students
following aspects:
1. Acting for the camera (How well the mimetic aspects has been
incorporated)
performance.
45
PRACTICAL - 10
OBJECTIVE:
Every human being has a sense of rhythm imbibed in his/her body. This
1. Practice of group mime, which helps them develop and improve their
creates, and the rhythmic sense. Practice of creating a story for the music.
music.
REFERENCE BOOKS:
46