Number of Units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 1, semester 1 Duration : 45 hours Planner : Mr. CHANG Lok Yee George, Ms. ZHANG Weimin
Objectives This course is designed to immerse students in all aspects of Film/Video productions. Students will be divided into smaller groups to come up with ideas and develop them into shooting scripts. They will then learn to do pre-production work and execute the production using film/video as a form of expression. During production, students will learn the art of directing, acting, cinematography and lighting, audio recording and art direction from various faculty members or professional staff. Towards the last few weeks of the semester, students will also learn the basic of post-production techniques using various computer soft wares such as Avid, Protools and Quantel Edit Box to add finishing touches to the project.
Learning Outcomes Each student will finish an individual narrative short film project on film. The film will be shot in 16mm film stock with sync sound recording. The film work print will be edited on Steenbeck and get first answer print as the final project. The maximum length is strictly set at 8 minutes.
Contents 1. Developing an idea from various sources 1.1 From daily news 1.2 From short stories 1.3 From visual materials 1.4 From audio materials 1.5 From personal diaries 2. Developing the idea into a script form 2.1 Researching on plot and character development 2.1 Developing the idea into a story 2.2 Developing the idea into a shooting script 2.3 Developing the idea into a story board 3. Pre-production 3.1 Selecting a format: film/video 3.2 Production design 3.3 Location scouting 4. Production 4.1 Rehearsing a scene with actors 4.2 Setting up lighting for master scene and close ups 4.3 Rehearsing camera movement
4.4 On location audio recording 5. Post production 5.1 Editing footage on computer 5.2 Studio audio recording 5.3 Mixing audio
Modes of Tuition Seminar discussion, lectures, workshop and exercises
Assessment Seminar Presentation of creative concept 30% Term Project 70%
Reference Books American Cinematographer Video Manual Third Edition. ASC Press American Cinematographer Film Manual 8th Edition. ASC Press Katz , S.D. (1991). Film directing shot by shot: visualizing from concept to screen. Studio City CA: Michael Wiese Productions in conjunction with Focal Press. Proferes, N.T. (2001). Film directing fundamentals: from script to screen. Boston: Focal Press. Schaefer, D. and Salvato, L. (1984). Masters of Lights: conversations with contemporary cinematographers. University of Calif ornia Press. Writer of Light: The Cinematography of Vittorio Storaro, ASC, AIC. ASC Press
Video References Lights Keeps Me Company Visions of Lights-The Art of Cinematography
CTV 7020 Postgraduate Television Studio Production I Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 1, semester 1 Duration : 45 hours Planner : Mr. AU David, Dr. CHEUK Pak Tong, Mr. John FERRETTI
Objectives To enhance students' critical responsibilities as required for the complex task of TV directing. This studio workshop provides students with intensive hands-on experience in the advanced techniques of multi-camera television production - including the equipment involved, the personnel and their functions, and decision-making procedures that constitute the producing and directing a variety of multi-camera TV programs. The course aims to develop students' ability to carry out the various phases in the production of a television package at an advanced level. Students gain extensive operation experience in a television studio environment wi th
evaluations of their work by the instructors.
Learning Outcomes Students should: 1. Understand the making of TV magazines, variety shows, musicals, and drama series. 2. Be able to acquire at least the skills and knowledge to make a 3-5 minutes TV drama.
Contents 1. Television Formats 1.1 Magazine shows 1.2 News and current affairs 1.3 Music shows 1.4 Studio dramas 1.5 Variety shows 2. Sources for Ideas 2.1 Standard script layouts 2.2 "Fully scripted" versus "semi-scripted" show 3. The Television Director 3.1 Duties of a television director 3.2 Characteristics of a good director 4. The Television Camera 4.1 The camera chain 4.2 Studio lens 4.3 ENG/EEP cameras and camcorders 5. Camera Operation 5.1 Electronic and operational characteristics 5.2 Zoom control 5.3 Focus control 6. Picture Composition 6.1 Screen size 6.2 Screen motion 6.3 Field of view 6.4 Depth 7 Television Lighting Fixtures 7.1 Studio lighting instruments 7.2 Field lighting instruments 7.3 Lighting control equipment 8 Studio Lighting Principles 8.1 Perception and selection 8.2 Light quality and direction 8.3 Lighting people and groups 9 Production Switchers 9.1 Types and functions 9.2 Switcher layout 9.3 Switcher operation 9.4 Vision mixing techniques 10 Instantaneous Editing 10.1 Rules of editing 10.2 Editing functions 10.3 Transition devices 11 Audio Equipment in TV Studio 11.1 Electronic and operational characteristics of microphones 11.2 Audio console 11.3 Sound fidelity 12 Video Recording and Playback Systems 12.1 Tape-based recording systems 12.2 Disk-based recording system 12.3 Automated playback systems 13 Multi-camera Studio Directing 13.1 Director's command 13.2 Directing from control room 13.3 Rehearsals 13.4 Timing control 14 Electronic Visual Effects 14.1 Standard analog video effects 14.2 Digital video effects 14.3 Mechanical effects 15 Postproduction Editing 15.1 Off-line versus on-line 15.2 Linear versus non-linear editing systems 15.3 AB-Roll editing 15.4 Control track and time-code editing
Mode of Tuition Workshops, demonstration, and projects
Assessment Television Field production 20% Television variety show 30% Studio drama production 50%
References Cury, I. (1998). Directing & Producing for Television: A Format Approach. London: Focal Press. Goodridge. M. (2002). Directing (Screencraft Series). London: Focal Press. Millerson, G. (1999). Lighting for Television and Film. London: Focal Press Ward, P. (2000). TV Technical Operations: An Introduction. London: Focal Press. Whitaker, J. (2002). Master Handbook of Video Porduction. McGraw-Hill Professional Publishing. Zettl, H. (1998). Sight, Sound, Motion?: Applied Media Aesthetics(3rd edition) Belmont, California: Wadsworth Publishing.
CTV 7030 2-D Computer Graphics Workshop Number of units : 3 units (3,3,0) Prerequisite : Nil Level : Year 1, semester 1 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This intermediate level course is designed to explore the concepts, issues and techniques of 2-D computer graphics from both an academic and studio perspective. Both technical and aesthetic issues will be addressed. Aesthetic issues will encompass concepts, composition and historical context. Technical topics will include raster and vector imaging, scanning, image manipulation, retouching, printing, motion graphics, and other related topics. The Adobe Photoshop, Adobe Illustrator and Adobe After Effects software packages will be used to illustrate the principles and techniques and to produce the projects. This course is a studio course, which means that the emphasis is on the production of student's artwork and not on the software. Students themselves will be determining the nature of the imagery they produce. They should strive to create try and incorporate the work they do in the workshop into their larger body of work. There will be periodic technical demonstrations and explanations during class time, but for the most part, students will be expected to work independently in learning the details of the various software packages we used. They should spend time practicing, as well as reading reference books. The course is organized to maximize hands-on experience and will include in-class critiques, exercises, and work sessions. The critiques will be run as seminar-style discussions, with everyone participating in the critiques and discussions of each student's work. Because of the way the classes are run, attendance at and active participation in the weekly classes is considered very important and is considered in grade calculations.
Learning Outcomes Successful students will be able to: 1. Have a knowledge and understanding of leading-edge computer graphics as applied to the 2D CG medium. 2. Have a knowledge and understanding of the technology behind the latest generation of computer graphics. 3. Have thorough command of the practice of research, and the ability use and adapt information to specific projects. 4. Have a broad knowledge of the practice, theory and history of the topic. 5. Articulate a personal aesthetic. 6. Interpret design presentations (drawings, plans, schematics) to assist in developing a work. 7. Participate in and productively respond to critique of work. 8. Contribute to a team, as well as assume leadership responsibilities 9. Demonstrate a competency for formal art and design elements, composition, and craftsmanship through the handling of various 2D CG programs. 10. Employ strong oral and visual communication skills.
11. Demonstrate a strong and consistent work ethic. 12. Articulate and contribute their learning process in future endeavors.
Contents 1. General Perspectives 1.1 Nature of the medium 1.2 Fundamental concepts 1.3 History and background of computer graphics 1.4 Key issues 1.5 Resource and research 1.6 Anatomy of the programs 1.7 Digital aesthetics 2. Raster Graphics / Bitmapped Graphics 2.1 Introduction and concepts 2.2 Limits and strengths 2.3 Principles and structures 2.4 Scanning and correction 2.5 Color systems, spaces, and matching 2.6 Drawing and painting 2.7 Masking and layering 2.8 Import and export 2.9 Algorithmic touch and special effects 2.10 Output issues 3. Vector Graphics / Object Oriented Graphics 3.1 Introduction and concepts 3.2 Geometry and the nature of selection 3.3 Definition of lines and fills 3.4 Local and global touch tools 3.5 Boolean operations: adding and subtracting shapes 3.6 Typography and design 3.7 Inter-program file exchange 4. Moving 2-D computer graphics 4.1 Keyframing and inbetweening 4.2 Precomposing and nesting composition 4.3 Timing factors 4.4 Play with the parameters 4.5 Straight and premultiplied alpha 4.6 Track matte 4.7 Special effects on time-based production 5. Composition Issues 5.1 Elements of composition 5.2 Style and originality 5.3 Visual Consistency 5.4 Placements of elements 5.5 File size, resolution, and color depth 5.6 Scale and other transformations 5.7 Layers and channels 5.8 Combining digital and traditional techniques
Mode of Tuition Lectures, tutorial, critical appreciations, and workshop
Assessment Participation 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Assignments 40% (2 Assignments, one on raster graphics and the other on vector graphics) Final Project 40% (A 2d moving image project with the combination of vector and raster graphics)
References Splater, A. M. (2nd ed) (1999). The Computer in the Visual Arts. California: Addison Wesley Lovejoy, M. (1997). Postmodern Currents: Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall Kewlow, I.V. (2nd ed) (1996). Computer Graphics for Designers and artists. New York: Van Nostrand Reinhold Foley, J. Dam, A. Feiner, S. and Hughes, J. (ED 2nd ed) (1996). Computer Graphics, Principles and Practice. California: Addison Wesley Meyer, T. and Meyer, C. (ED) (2000). Creating Motion Graphics with After Effects. Cal ifornia: CMP Books Weinmann, E. (2002). Illustrator 10 for Windows and Macintosh: Visual QuickStart Guide. California: Peachpit Press Adobe Creative Team. (ED) (2002). Adobe Photoshop 7.0: Classroom in a Book. California: Adobe Press
CTV 7040 Postgraduate Film and Video Production II Number of units : 3 Units (3,3,0) Prerequisite : CTV 7010 Postgraduate Film and Video Production I Level : Year 1, semester 2 Duration : 45 hours Planner/Instructor : Mr. CHANG Lok Yee George, Ms. ZHANG Weimin
Objectives This course is an advances course designed to immerse students in all aspects of Film/Video productions. Students will be divided into smaller groups to develop idea for a film/video shooting script and execute the production using film/video as a form of expression. During production, students will learn advanced methods on the art of directing, acting, cinematography and lighting, audio recording and art direction from various faculty members or professionals. Towards the end of the semester, students will learn
the basics of post-production techniques using various computer softwares such as Avid, Protools and Quantel Edit Box to add finishing touches to the project. Learning Outcomes
Each student will finish an individual narrative short film project on video. The film has to be shot in 16mm film stock with sync sound recording. The film will be Telecine into Beta SP through laboratory and edited on non-linear editing system. The finish project will be on Beta SP format. The maximum length is strictly set at 15 minutes. Contents 1. Developing an idea from various sources 1.1 From daily news 1.2 From short stories 1.3 From visual materials 1.4 From audio materials 1.5 From personal diaries 2. Developing the idea into a script form 2.1 Researching on plot and character development 2.2 Developing the idea into a story 2.3 Developing the idea into a shooting script 2.4 Developing the idea into a story board 3. Pre-production 3.1 Selecting a format: film/video 3.2 Production design 3.3 Location scouting 4. Production 4.1 Rehearsing a scene with actors 4.2 Setting up lighting for master scene and close ups 4.3 Rehearsing camera movement 4.4 On location audio recording 5. Post production 5.1 Editing footage on computer 5.2 Studio audio recording 5.3 Mixing audio
Modes of Tuition Seminar discussion, lectures, workshop and projects
Assessment Seminar Presentation of creative concept 30% Term Project 70%
Reference Books Andrzej, W. (1992). Wajda on Film: Master's on Film . David, M. (1991). On directing Film. Faber & Faber. Wenders, W. (1991). The Logic of Images: Essays and Conversations. Faber & Faber. Proferes, N.T. (2001). Film directing fundamentals: from script to screen. Boston: Focal Press. Katz, S.D. (1991). Film directing shot by shot: visualizing from concept to screen. Studio City CA: Michael Wiese Productions in conjunction with Focal Press. American Cinematographer Video Manual Third Edition. ASC Press American Cinematographer Film Manual 8th Edition . ASC Press Schaefer , D. and Salvato, L. (1984). Masters of Lights: conversations with contemporary cinematographers. University of California Press. Reflections: 21 Cinematographers at Work by Benjamin Bergery. Writer of Light: The Cinematography of Vittorio Storaro, ASC, AIC. ASC Press
Video References Lights Keeps Me Company Visions of Lights-The Art of Cinematography Kodak Series on Cinematography
CTV 7050 Postgraduate Television Studio Production II Number of units : 3 Units (3,3,0) Prerequisite : CTV 7020 Postgraduate TV Studio Production I Level : Year 1, semester 2 Duration : 45 hours Planner : Mr. AU David, Dr. CHEUK Pak Tong, Mr. John FERRETTI
Objectives This advanced studio workshop provides background knowledge, theory, and instruction in the practical skills required for producing television programs of professional standard. In addition to acquiring more useful information about the technical, logistical, and aesthetic aspects of television production, the workshop aims to develop a better understanding of the thorough preparation necessary for an effective production and heightened awareness of the need for harmonious collaboration on the television production team. Emphasis is placed on the director's pre-production, planning, organization and execution of a multi-camera program under time-constrained studio conditions.
Learning Outcomes Students should: 1. Be able to make a ten minutes TV studio drama 2. Be familiarized with TV studio production techniques like lighting, sound and story telling.
Contents 1. Craft of Multi-camera Directing 1.1 Communication skills
1.2 Working with the production team 2. Support Staff 2.1 Floor manager 2.2 Producer assistant 2.3 Lighting director 2.4 Audio director 3. Performance Techniques 3.1 Performer and camera 3.2 Performer and audio 3.3 Performer and Timing 4. Acting Techniques 4.1 Director/talent relationship 4.2 Acting styles and techniques 4.3 Blocking and character development 4.4 Timing and pace 5. Advanced Camera Techniques 5.1 Image control 5.2 Cameras positioning 5.3 Camera and lens movements 6. Studio Lighting Approaches 6.1 Systematic lighting 6.2 Look and light method 6.3 Plot and light method 7. Lighting Styles 7.1 Pictorial style 7.2 National lighting 7.3 Decorative lighting 7.4 Animated lighting 8. Creative Video Effects 8.1 Static versus moving video effects 8.2 Virtual studios 8.3 Chroma keying 9. Audio Technical Operations 9.1 Television sound 9.2 Advanced audio setup 9.3 Control and monitoring 10. Production Design 10.1 Graphics equipment 10.2 Scenery and properties 10.3 The floor plan 11. Makeup and Costume Design 11.1 Materials 11.2 Technical requirement 12. Dealing with Problems 12.1 Live television 12.2 Technical disaster 12.3 Machine breakdown 12.4 Production errors 13. Digital Television 13.1 Analog versus Digital Television 13.2 Differences between analog and digital 13.3 Benefits of digital television 13.4 Aspects Ratio and scanning systems 14. Reflections on Future Technology 14.1 Consumer trends 14.2 Studio engineering 14.3 Satellites and microwaves
Mode of Tuition Workshops, demonstrations, and projects
Assessment Studio drama production 1 40% Studio drama production 2 60%
References Barlett, E.R. (1990). Cable television technology and operations. New York: McGraw-Hill. Cury, I. (1998). Directing & Producing for Television: A Format Approach. London: Focal Press. Goodridge, M. (2002). Directing (Screencraft Series). London: Focal Press. Millerson, G. (1999). Lighting for television and Film. London: Focal Press Ward, P. (2000). TV Technical Operations: An Introduction. London: Focal Press. Whitaker, J. (2002). Master Handbook of Video Production. McGraw-Hill Professional Publishing.
CTV 7060 3-D Modeling and Rendering Workshop Number of units : 3 units (3,3,0) Prerequisite : CTV 7030 2-D Computer Graphics Workshop Level : Year 1, semester 2 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This course focuses on the concepts, issues and techniques of 3-D computer modeling and rendering as they apply to the animation art. Both technical and aesthetic issues will be addressed. Aesthetic issues will encompass concept, composition and historical
context. Technical topics will include global and local coordinate systems, primitives, organic and polygon modeling, modeling techniques, hierarchical structure, lighting, camera setting, texture mapping, and rendering. The Alias|Wavefront Maya software package will be used to illustrate the principles and techniques dealt with and to produce the assignments. The course is organized to maximize hands-on experience and will include in-class exercises. Because of the way the classes are run, attendance and active participation in the weekly classes are considered extremely important and are considered in evaluations. There will be four assignments. They will be evaluated based both on aesthetics and on technical proficiency. There will also be one written exam towards the end of the semester on the technical principles of 3-D computer modeling and rendering. Successful completion of this course should provide students with an all-rounded understanding of the principles and operation of 3-D modeling and rendering tools. It paves the way for students to take the 3-D animation workshops later.
Learning Outcomes Successful students will typically be able to: 1. Have a knowledge and understanding of leading-edge computer graphics as applied to the 3d computer graphics medium. 2. Have a knowledge and understanding of the technology behind the latest generation of 3d computer graphics. 3. Determine their own modeling method that they feel most comfortable. 4. Implement standard modeling and rendering techniques. 5. Think creatively, make decisions and apply problem solving skills. 6. Communicate their ideas and understand the working pipeline. 7. Use their imagination and translate ideas into action. 8. Gain an understanding of the principle of 3d modeling and rendering. 9. Gain an understanding of the principle of lighting. 10. Participate in and productively respond to critique of work. 11. Articulate a personal aesthetic. 12. Demonstrate a strong and consistent work ethic. 13. Identify the available career opportunities, and describe the roles of people employed in environments that use or create 3D computer graphics.
Contents 1. General Perspectives 1.1 Nature of the medium 1.2 How modeling is related to rendering, and animation 1.3 Key issues 1.4 Resource and research 1.5 Application of 3d CG 1.5.1 Animation: simple keyframing 1.5.2 Industrial design: sculpture: cad / cam 1.5.3 Print media: color and resolution 1.5.4 VRML 2. Modeling 2.1 Introduction and concepts 2.1.1 Space, objects, and structure 2.1.2 Points, lines, and surfaces 2.1.3 Importance of naming objects 2.1.4 Absolute and relative values 2.1.5 File formats for modeling 2.2 Primitives 2.3 Coordinate systems: local and global 2.4 Transformations 2.5 Organic and polygon modeling 2.6 Modeling Techniques 2.6.1. Freeform curved surface 2.6.2 Extrusions, lofts, boundaries 2.6.3 Duplicating and mirroring 2.6.4 Beveling, rounding, and fillets 2.6.5 Boolean operations and trims 2.6.6 Deformed and randomized surfaces 2.7 Construction history 2.8 Hierarchical structure 2.9 Image plane setup 2.10 On overmodeling 2.11 Take advantage of modeling mistakes 3. Texturing and Rendering 3.1 Lights and Camera 3.1.1 Lighting: directional, point, spot, and ambient 3.1.2 Location, intensity, color, and falloff 3.1.3 Light linking in geometry heavy scenes 3.1.4 Cast shadows: depth map / Z map 3.1.5 Defining a camera 3.1.6 Camera moves, field of view 3.1.7 Background images 3.2 Shading algorithms and hypershade 3.3 Image mapping and projection methods 3.4 Surface reflectivity 3.5 Surface texture 3.5.1 2-D textures and common attributes 3.5.2 Controlling bump and displacement maps 3.5.3 3-D procedural texture maps 3.5.4 Paint texture tools 3.6 Environments - sky, cubic, spherical 3.7 Resolution and file formats for image output 3.8 Raytracing 3.9 Rendering in layers 3.10 Composting 4. Aesthetic Issues 4.1 Style and originality 4.2 Final frame consideration 4.3 Center of interest 4.4 Color and emotion 4.5 Harmony and rhythm 4.6 Experimenting use of the media 4.7 Composition: understanding its relationship in order to make the image reach its goal
Mode of Tuition Lectures, tutorial, critical appreciations, and workshop
Assessment Participation 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Assignments 60% (On nurbs, polygon and subdivision surfaces with emphases on craftsmanship, originality and mood) Written Examination 20% (Text book: O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company - only chapters on modeling, texture mapping and lighting)
References O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company Kerlow, I. (3rd ed) (2003). The Art of 3-D Computer Animation and Effects. New York: John Wiley & Sons Inc. Kerlow, I. (2nd ed) (1996). Computer Graphics for Designers and artists. New York: Van Nostrand Reinhold Foley, J. Dam, A. Feiner, S. and Hughes, J. (ED 2nd ed) (1996). Computer Graphics, Principles and Practice. California: Addison Wesley http://www.alias.com/eng/index.shtml http://www.highend3d.com/maya/tutorials http://www.3dcafe.com http://www.3dlinks.com
CTV 7070 Media Management Number of Units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 3 Duration : 45 hours Planner : Dr. CHEUK Pak Tong
Objectives
This seminar aims to establish a firm foundation of business and management skills for specialized career training in the media industry. The roles and skills of a media producer are examined, and the proper procedures for production management from project initiation to completion are analyzed in detail.
Learning Outcomes Students should: 1. Understand the complications of film and TV series production; including distribution and marketing operations mechanisms. 2. Understand that the investment portfolio is not a single country investment, but rather a pool of resources from a many countries.
Contents 1. The Producer and Script 1.1 Roles and types of producer 1.2 The writer-producer 1.3 Script sales strategies 2. Marketable Concepts 2.1 Idea generation 2.2 Packages 2.3 Audience Assessment 3. Production Management 3.1 Script breakdown 3.2 Scheduling 3.3 Estimating and Budgeting 3.4 Production meetings 3.5 Casting 4. The Deal 4.1 Entertainment lawyer 4.2 Distribution Agreement 4.3 Talent Agent 5. Economics of Distribution and Exhibition 5.1 Network television 5.2 Local television 5.3 Cable television 5.4 VCD and DVD markets 5.5 Internet 6. Technology of Distribution and Exhibition 6.1 Digital Broadcasting and HDTV 6.2 Satellite, cable and web 6.3 Conventional and digital film projection 6.4 Other digital formats 7. Marketing 7.1 Publicity 7.2 Previews 7.3 Release dates 7.4 Distributors 8. Financing 8.1 The bank and financing 8.2 pre-sales 8.3 Foreign distribution 8.4 Co-productions and foreign tax deals 8.5 Production Accounting 9. Entertainment Law 9.1 Legal considerations 9.2 Agents, negotiations and contracts 9.3 Ethnographic documentary 10. Copyright and Royalties
Mode of Tuition Lectures, discussions, presentations and projects
Assessment Presentation 40% Final Research Paper 60%
References Bernstein, S. (1998). The technique of film production. London: Focal Press. Curran, T. (1986). Financing your film: A guide for independent filmmakers and producers. New York: Praeger. Czech, B. (1991). Managing electronic media. London: Focal Press. Horwin, G. (1990). Careers in film and video production. London: Focal Press. Houghton, B. (1991). What a producer does. Hollywood: Silman James Press. Puttnam, D. (1997). The struggle for control of the words film industry. London: Harper Collins Publisher. Rosenthal, A. (1995). Writing docudrama: Dramatizing reality for film and TV. Newton, MA: Butterwoth- Heinemann Focal Press. Ross, D. (1997). Triangle: Writing, producing and directing. Munich: Hochschule Fur Fernschen and Film. Randall, D. (1991). Feature films on a low budget. London: Focal Press. Singleton, R. S. (1986). Film scheduling/film budgeting. Beverly Hills, California: Lone Eagle. Whannel, G. (1992). Fields in vision. London: Routledge.
CTV 7081 MFA Thesis Project I Number of units : 3 Units Prerequisite : Year 3 standing Level : Year 3, semester 1 Planner : Dr. LO Wai Luk, Ms. ZHANG Weimin
CTV 7082 MFA Thesis Project II Number of units : 6 Units Prerequisite : Year 3 standing Level : Year 3, semester 2 Planner : Dr. LO Wai Luk, Ms. ZHANG Weimin
Objectives This year-long subject engages the student in supervised independent production or creative work. On the first Monday of May and December each year, the student writes and submits a proposal to the Course Management Committee. A chief adviser is assigned to the student upon approval of the proposal. For details please refer to SECTION III 3.2 of this Course Document, and the Production Handbook for the MFA Thesis Projects.
Learning Outcomes Each student is required to plan, shoot and edit a 25-30 minutes film/video in which the student and faculty work together addressing the myriad aesthetic, technical, collaborative and ethical issues integral to filmmaking. The maximum length is strictly set at 30 minutes from first to last frame of picture not including titles.
CTV 7100 Postgraduate Script Writing Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Dr. LO Wai Luk
Objectives This is an intensive writing class. Through different writing assignments, basic narrative elements of story, plot, character, action, continuity, rhythm, ellipses and dialogue will be thoroughly reviewed.
Learning Outcomes The students will develop advanced writing techniques for writing different kinds of scripts in different contexts or environments. Each student will be able to work independently on the final creative project, a script of at least one-hour.
Contents 1. The Idea of Drama 1.1 Dramatic action 1.2 Dramatic structure 1.3 Dramatic form 2. Emotional Rhythm 2.1 Emotional Structure
2.2 The Flow of drama vs. "qi" 3. Scene 3.1 The nature of scene 3.2 The interplay between Scene and Act 3.3 Scene description 4. Character 4.1 How to create a character bank 4.2 Research on people 4.3 Theory of Personality Types 5. Analysis of Verbal Expression 5.1 Literary and Dramatic Writings Compared 5.2 Verbal Expression and Visual Expression 5.3 The monologue as applied on stage and in film/TV 5.4 Commentary as narrative 6. Writing with audio and visual implication 7. Adaptation 8. Research of Creative Writings
Mode of Tuition Lectures, seminar, discussions
Assessment Assignment 20% Presentation 20% Term Project 60%
References Aristotle. Poetics. Axelrod, Mark. (2001). Aspects of the Screenplay: Techniques of Screenwriting. Portsmouth, NH: Heinemann. Chatman Seymour (1978). Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, NY: Cornell University. Egri, Lajos. (1960). The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. New York: Simon and Schuster. Lee, Lance. (2000). A Poetics for Screenwriters. Austin: University of Texas. McKee, Robert. (1997). Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: Regan Books. Pfister, M. (1991). The Theory and Analysis of Drama. Cambridge: Cambridge University.
CTV 7110 Advanced Script Writing Workshop Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours
Planner : Dr. LO Wai Luk
Objectives The students will undergo the creative process of a full script and share with fellow scriptwriters all the fear and joy of creation. The teacher will be more of a facilitator than an instructor. The emphasis will be on the originality, aesthetics, and creative integrity.
Learning Outcomes At the end of the subject, each student will finish a half hour script that is ready for production.
Contents 1. Different Forms of Script 1.1 Screen Play 1.2 Short Film 1.3 Teleplay Play 1.4 Radio Play 1.5 Non-fictional script 2. The Script Writing Process 2.1 From Idea to Story 2.2 Dramatic Action 2.3 Screenplay Structure 2.4 Scene Descriptions 2.5 Narrative Treatment 3. Character 3.1 Aspects of good character 3.2 Emotion expression 3.3 Dialogue 4. Writing the First Draft 4.1 Set up 4.2 Rising action 4.3 Climax 4.4 Falling action 4.5 Story ending 5. The Rewriting Process 5.1 Constructive Feedback 5.2 Rewriting and Polishing 5.3 Restructuring the Story 5.4 Rebuilding the character
Mode of Tuition Lectures, writing exercises, projects, seminar
Assessment Projects 60% Assignments 40%
References Berman, Robert A. (1988). Fade In: The Screenwriting Process: A Concise Metho For Developing A Story Concept Into A Finished Screenplay. California: Michael Wiese Film Productions. Bolker, Joan. (1997). The Writer's Home Companion: An Anthology of the Worlds Best Writing Advice, from Keats to Kunitz. New York: Henry Holt and Company. Cooper, Pat and Ken Dancyger. (1994). Writing the Short Film. Boston: Focal Press. Dawson, Jonathan. (2000). Screenwriting: A Manual. South Melbourne: Oxford University Press. Days, Ronald D. (1993). Screen Writing For Television and Film. Madison, Wisconsin: Brown & Benchmark Publishers. Engel, Joel ed. (1995). Screen Writers On Screen Writing. New York: Hyperion. Friedmann, Julian and Pere Roca. (1994). Writing Long-running Television Series. Mardid: Media Business School. Morley, John. (1992). Scriptwriting for Hing-impact Videos: Imaginative Approaches to Delivering Factual Information. Belmont, California: Wadsworth Publishing Company. Trapnell, Coles. (1966). Teleplay: An Introduction to Television Writing (Revised edition). New York: Hawthorn Books. Ueland, Brenda. (1987). If You Want to Write: A Book About Art, Independence and Spirit. Saint Paul: Graywolf Press.
CTV 7120 Creativity Workshop Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Dr. LO Wai Luk
Objectives Creativity is a habit, a choice. The class is a balance between survey of creativity and the practices of the enhancement of creativity. The first part is a seminar of several contemporary texts on Creativity. The students conduct the discussions themselves. The second part is Creative Activity. This workshop stresses spontaneity, improvisation, participation, and most important of all, open-mindedness. The in-class activities includes: Creative problem solving, brainstorming, mind-mapping and drawing from the right side of the brain, free-writing, role-playetc.
Learning Outcomes At the end of the subject, the students will develop creative habits to getting out of their routines, in their creative process, in their approach to subject matter, in their way of seeing, as well as in their attitude towards life. The students know how to employ valuable tools to expand their creativity, solve problems, eliminate creative blocks, and locate essential elements of any project.
Contents 1. What is Creativity? 1.1 Working definitions 1.2 Sharing of Cases of creative persons or creative acts
1.3 All problems the student wants to solve 2. Survey of Creativity 2.1 James L. Adams, The Care and Feeding of Ideas 2.2 Edward de Bono, Serious Creativity 2.3 Mihaly Csikezentmihalyi, Creativity 2.4 Howard Gardner, Creative Minds 2.5 Anthony Storr, The Dynamics of Creation 3. Practical Creativity Thinking Activities 3.1 Creative problem solving 3.2 Brainstorming 3.3 Mind-mapping 3.4 Free-writing 3.5 Role-play 4. Tools for Creativity 4.1 Imagination and subconscious mind 4.2 Attitude: positive, curiosity, passion 4.3 Intuition 4.4 Visualization and symbols 4.5 Journaling 5. The Creative Project 5.1 The Creative Process 5.2 Idea-finding 5.3 Putting Ideas into Action 5.4 Creation and Self-Actualization
References Adams, James. (1986). The Care & Feeding of Ideas: A Guide to Encouraging Creativity. Reading, Mass.: Addison-Wesley. Amabile, T. (1989) Growing Up Creative: Nurturing a Lifetime of creativity NY: Crown 1989 Barron, Frank et al ed. (1997). Creators on Creating. Tarcdher/Putnam. Boden, Margaret ed. (1994). Dimensions of Creativity. Cambridgbe Mass: MIT. Bono, Edward de. (1995). Serious Creativity: Using the Power of Lateral thinking to Creative New Ideas. London: HarperCollinsBusiness. -------. (1977). Textbook of Wisdom. Middlesex: Penguin. Bowden, Margaret, ed. (1994). Dimensions of Creativity. Cambridge Mass: MIT. Buzan, T. (1993). Use Your Perfect Memory. PLUM, Penguin Group: NY. Csikszentmihalyi, Mihaly. (1990). Flow: The Psychology of Optimal Experience. New York: Harper and Row. -------. (1997). Findingt Flow. New York: Basic Books. Elias,M.& S.Tobias.(1990).Problem Solving and Decision Making. NEA Pub.: Washington D.C. Epstein, Robert. (1996). Cognition, Creativity and Behavior Westport. Conn: Praeger. Gardner, H. (1982). Art, Mind, And Brain: A Cognitive approach to creativity. -------. (1993). Multiple Intelligences: A Theory in Practice. New York: Basic Books. _____ . (1997) Extraordinary Minds. New York: Harper Collins. Garnham, Alan. (1995). Thinking and Reasoning. Oxford UK: Blackwell. Goleman, Daniel et al. (1992). The Creative Spirit. New York: Dutton. Joas, Hans. (1996). The Creativity of Action. Chicago: University of Chicago. Li, Rex. (1996). A theory of conceptual Intelligence: thinking, learning creativity and giftedness. Westport : Praeger. Storr, Anthony. (1985). The Dynamics of Creation. New York: Atheneum. Simonton, Dean. (1997). Genius and Creativity. Greenwich Conn: Ablex.
CTV 7130 Comedy: Theory and Practice Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Dr. LO Wai Luk, Dr. NG Chun Bong
Objectives This subject introduces students to essential theories of comedy, so they can apply them in discussions of a variety of genres, plays, films, jokes, comics etc. The students will select several cases to conduct in-depth studies. The creation and writing of comedy will be the major activity of the second half of the class.
Learning Outcomes Since learning and writing comedy are the most difficult among all creative subjects, after the course it is expected that the students should: 1. Understand the essential theories of comedy 2. Develop a critical sense for studying different genres of comedy 3. Develop comic sense and comic mind 4. Learn how to develop comic ideas 5. Learn how to write jokes and comic lines 6. Acquire the basic technical skill in writing a script of comedy
Contents 1. Comic Theory 1.1 Henri Bergson, "Laughter" 1.2 Sigmund Freud, "Wit and Its Relation to the Unconscious"
1.4 Northrop Frye, "Anatomy of Criticism" 1.5 Selections from the Chinese tradition 2. Great Comic Drama 2.1 Aristophanes, Lysistrata 2.2 Shakespeare, Much Ado About Nothing 2.3 3. Studies on Comic Film Makers 3.1 Chaplin 3.2 Fellini 3.3 3.4 4. Other Forms 4.1 TV situation comedy 4.2 Musical 4.3 Comics 4.4 Jokes 5. Comedy Project 5.1 Happy Ideas 5.2 Comic Action 5.3 Comic Character 5.4 Comic Logic
Mode of Tuition Lectures, demonstrations, workshop, presentation
Assessment Assignment 40% Group Project 20% Final Individual Project 40%
References Berger, Asa. (1997). The art of comedy writing. New Brunswick, N.J. : Transaction Pub. Charney, Maurice. (c1978). Comedy high and low: an introduction to the experience of comedy. New York : Oxford University Press. -------. (1978). Comedy : new perspectives. New York : New York Literary Forum. Corrigan, Robert W. ed. (1971). Comedy : a critical anthology. Boston : Houghton Mifflin. -------. (c1981). Comedy, meaning and form. New York : Harper & Row. Evans, James E. (1987). Comedy, an annotated bibliography of theory and criticism. Metuchen, N.J. : Scarecrow Press. Galligan, Edward L. (c1984). The comic vision in literature. Athens : University of Georgia Press. Glasgow, R.D.V. (c1999). The comedy of mind : philosophers stoned, or the pursuit of wisdom. Lanham : University Press of America. Hirst, David L. (1979). Comedy of manners. London : Methuen. Horton, Andrew ed. (1991). Comedy/Cinema/Theory. Berkeley: University of California. Mast, Gerald. (1979). The comic mind : comedy and the movies. Chicago : University of Chicago Press. Nelson, T. G. A. (1990). Comedy : an introduction to comedy in literature, drama, and cinema. Oxford: Oxford University Press. Palmer, D.J. ed. (1984). Comedy, developments in criticism : a casebook. Hampshire : Macmillan Education. Rickman, Gregg ed. (2001). The Film Comedy Reader. New York: Limelight Editions. Riehle, Wolfgand. (1990). Shakespeare, Plautus, and the humanist tradition. Suffolk : D.S. Brewer. Torrance, Robert M. (1978). The comic hero. Cambridge, Mass. : Harvard University Press. Saks, Sol. (1991). Funny business : the craft of comedy writing. Los Angeles CA : Lone Eagle Pub. Co.
CTV 7140 Postgraduate Documentary Seminar Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Ms. ZHANG Weimin
Objectives This seminar series explores the development of all forms of documentary, and contemporary issues and problems surrounding the form, which are placed within the context of different genres, modes of production, and the work of particular directors and producers. The subject is also required to incorporate a flexible, alert and adventurous approach to documentary across a range of genres, and to consider the philosophical and practical issues which inform historical and current practice.
Learning Outcomes Each student will finish two research papers in midterm and final stage (maximum 3500 words). Through the study and research on documentary history and theory combining their own understanding and experience, students need to address and develop their own aesthetic and theocratic ideas and perspectives on documentary study.
Contents 1. Definition and current status of Film/Video/TV documentary 2. Non-fictional film and its relation to society and culture 3. Documentary Theory 3.1 Issue of Representation 3.2 Elements of the Documentary 3.3 Form, Control, and Identity 4. Historical Impact of the Documentary 4.1 The Propagandist tradition 4.2 The Realist tradition 4.3 Realism, Imperialism and Post-coloniality 5. Documentary Genres and Styles 5.1 Impressionistic 5.2 The Hollywood Model 5.3 The documentarist as essayist
6. Philosophy of Documentary approach 6.1 Direct cinema: a documentary French New Wave 6.2 Cinema-verite 6.3 Frederick Wiseman's reality fictions 6.4 Post-modern marker 7. Laws and Ethics in Making a Documentary 7.1 The Need for a Documentary Ethic 7.2 Responsibility to subjects 7.3 Informed Consent 7.4 Ethical Judgments 8. The Reality Problem 8.1 Dilemmas of enunciation in contemporary documentary 8.2 Documentary and the audience 8.3 Reality-based Television 9. Contemporary Issues in Documentary 9.1 A Comparative Study of Eastern and Western Documentaries 9.2 The changing technology of documentary production 9.3 Ethnographic documentary 10. Re-enactment, Reconstruction, and Docudrama 11. Aesthetics, Authorship and Documentary Mission
Mode of Tuition Lectures, discussions, screenings, and projects
Assessment Midterm Paper 40% Final Research Paper 60%
References Aitken, I. (1998). The Documentary Film Movement. Edinburgh University Press. Barnouw, E. (1993). Documentary: A History of the Non-Fiction Film. Oxford University Press. Bruzzi, S. (2000). New Documentary: A Critical Introduction. New York: Routledge Press. Dlantinga, C.R. (1997). Rhetoric and representation on nonfiction film. Cambridge University Press. Ellis, J. (1988). Documentary Idea, The: A Critical History of English- Language Documentary Film and Video. Allyn & Bacon Publishing. Grant, B.K. & Sloniowski, J. (1988).Documentary the Documentary: Close Readings of Documentary Film and Video. Michigan: Wayne State University Press. Landy, M. (1996). Cinematic Uses of the Past. University of Minnesota Press. MacDougall, D. & Taylor, L. (1988). Transcultural Cinema. New Jersey: Princeton University Press. Nichols, B (1981). Ideology and Image. Bloomington, Indiana: University of Indiana Press. Nichols, B. (2001). Introduction to Documentary. Bloomington: Indiana University Press. O'Connell, P.J. (1992). Robert Drew and the Development of Cinema Verite in America. Illinois: Southern Illinois University Press. Ohrn, K. B. (1980). Dorothea Lange and the documentary tradition. Baton Rouge: Louisiana State University Press. Petric, V. (1993). Constructivism in film: The man with the movie camera. Cambridge University Press. Renov, M. (1993). Theorizing Documentary. New York: Routledge Press. Rosenthal, A. (1978). The documentary conscience. Berkely, California: University of California Press. Rothman, W. (1997). Documentary Film Classics. Cambridge University Press. Vaughan, D. (1999). For Documentary: Twelve Essays. California: University of California Press. Waldman, D. and J. Walker, ed. (1999). Feminism and Documentary. University of Minnesota Press. Winston, B. (2000). Liew, Damn Liew and Documentaries. London: British Film Institute.
CTV 7150 Postgraduate Dramatic Film/TV Production Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2, semester 1 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Ms. ZHANG Weimin
Objectives The class examines the director's responsibilities in preparing pre-shooting script breakdowns and working on the set. Students gain hands-on experience in advanced production techniques, with the emphasis on pre-production planning, scripting, camera operations, lighting, audio, and post-production. Students develop and produce original short-subject film/TV that applies the principles learned through lectures, film screenings, and from guest speakers.
Learning Outcomes Group film project: a group (minimum of four) of students will complete one short 16mm film project with the maximum length of 8 minutes (350 feet). Group TV project: a group (minimum of four) of students will complete one TV project with the maximum length of 10 minutes.
Contents 1. The Dramatic Script 1.1 Research and script development 1.2 Telling the story 1.3 Script analysis 2. The Visualization Process 2.1 Idea generation 2.2 Storyboards drafting 2.3 Production design 3. The Director's Role 3.1 Pre-production 3.2 Production 3.3 Post-production 4. Staging the Scene 4.1 Camera angles and positions
4.2 Depth of the frame 4.3 Point of view 4.4 Mobile staging 4.5 Camera and lens movement 5. Directing Methods 5.1 Casting and rehearsal 5.2 Rehearsal plan and guidelines 5.3 Rehearsal for technical stall 5.4 Camera rehearsal 6. Film and Video Cameras 6.1 Formats, speed and exposure 6.2 Operations and mechanics 6.3 Compositions 6.4 Single-camera techniques 7. Lighting for Film and Video 7.1 Defining three-dimensionality 7.2 Defining space 7.3 Color and filters 7.4 Light meters 8. On-location Sound 8.1 Audio recording setup 8.2 Advanced recording techniques 8.3 Audio equipment 9. Sync Sound Workshops 9.1 Shooting sync sound as a director 9.2 Synchronization of rushes 9.3 Sync sound procedures 10. Principles in Editing 10.1 Shot, sequence, scene 10.2 Cut, fade, and dissolve 10.3 Continuity cutting 11. Devices of Editing 11.1 Montage and mise-en-scene 11.2 Manipulation of space and time 11.3 Time expansion and compression 11.4 Cross out 12. Editing Analysis 12.1 Action 12.2 Sound 12.3 Light and color 13. AVID Non-linear Editing System 13.1 Non-linear editing defined 13.2 Linear versus non-linear 13.3 AVID workshops 14. Audio-postproduction process 14.1 Recording, editing, and mixing using Protools 14.2 Using sound as a storytelling device 15. Project Screenings and critiques
Mode of Tuition Workshops, demonstration, projects and critiques
Assessment Presentation 20% Individual film production I (8 minutes) 40% Individual film production II (10 minutes) 40%
References Begleiter, M. (2001). From Word to Image: Storyboarding and the Filmmaking Process. Studio City, California: Michael Wiese Productions. Billups, S. (2001). Digital Moviemaking. Studio City, California: Michael Wiese Productions. Browne, S.E. (1996). Video Editing: A Postproduction Primer. London: Focal Press. Burder, J. (1988). The technique of editing 16mm Films (5th ed.). London: Focal Press. Hart, J. (1999). The Art of the Storyboard: Storyboarding for Film, TV, and Animation. London: Focal Press. Proferes, N.T. (2001). Film Directing Fundamentals: From Script to Screen. London: Focal Press. Rabiger, M.P. (1996). Directing: Film Techniques and Aesthetics. London: Focal Press. Reisz, K. 91995). Technique of Film Editing. London: Focal Press. Rose, J. (2000). Producing Great Sound For Digital Video. California: CMP Books. Simon, M. (2000). Storyboards: Motion in Art. London: Focal Press. Watkinson, J. (2000). The Art of Digital Video. London: Focal Press. 3rd edition (July 2000) Zettl, H. (1998). Sight, Sound, Motion: Applied Media Aesthetics (3rd edition). Belmont, California: Wadsworth Publishing.
CTV 7160 Advanced Documentary Production Workshop Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Ms. ZHANG Weimin
Objectives Defining the central role of the director in the realization of a documentary, this subject seeks to give students a firm theoretical grasp of the principles and practices of shooting and editing film/video documentaries. Students conceptualize, research, write, shoot, and edit their own productions. A series of lectures and discussions explore various visual elements of documentary. Analytical sessions
exploring documentary films are combined with workshops for the presentation and discussion of student work in progress at specific stages.
Learning Outcomes Each student will finish two individual documentary projects in midterm and final stage. 1st project: each student will complete one short documentary project with the maximum length of 8 minutes. The documentary will be shot and finished on DV format. 2nd project: each student will complete one short documentary project with the maximum length of 15 minutes. The documentary will be shot and finished on DV format.
Contents 1. Major Approaches to Documentary 2. Selecting a Subject 2.1 topic 2.2 Location 2.3 People 3. Script for a documentary project 4. Developing an idea through research 5. Adapting a true story into a documentary 6. Proposal writing and treatment 7. The Documentary Interview 7.1 Preparations for questions 7.2 On location 7.3 Shooting Option 8. Pre-production 8.1 Developing a documentary crew 8.2 Equipment Selection 9. Production 9.1 Camera Work 9.2 Lighting for documentary 9.3 Documentary Sound 10. Postproduction 10.1 Shaping the film 10.2 Designing a structure 10.3 Principles of Visual and sound editing 10.4 Narration and music 11. Role of director in documentary 11.1 Directing the crew 11.2 Directing participants 11.3 Planning for Spontaneity 12. Role of cameraman in documentary 13. Role of editor in documentary 14. Marketing and distribution
Mode of Tuition Lectures, screenings, workshops, projects and critiques
Assessment Individual documentary video production (8 minutes) 40% Individual documentary film/video production (15 minutes) 60%
References Baddeley, W.H. (1975). The technique of documentary film production. London: Focal Press. Barbash, I. & Taylor, L. (1997). Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos. California: University of California Press. Hampe, B. (1997). Making Documentary Films and Reality Videos: A Practical Guide to Planning, Filming, and Editing Documentaries of Real Events. Owlet Press. Kriwaczek, P. (1997). Documentary for the Small Screen. London: Focal Press. Nichols, B. (1992). Representing Reality: Issues and Concepts in Documentary. Indiana University Press. Rabigher, M.(1997). Directing the Documentary (3rd edition). London: Focal Press. Rosenthal, A. (1996). Writing, Directing, and Producing Documentary Films and Videos. Illinois: Southern Illinois University Press. Silverstone, R. (1985). Framing Science: The making of a BBC documentary. London: British Film Institute. Tobias, M. (1998). The Search for 'Reality': The Art of Documentary Filmmaking. Studio City, California: Michael Wiese Productions.
CTV 7170 Advanced Dramatic Film/TV Production Workshop Number of units : 3 Units (3,3,0) Prerequisite : CTV 7150 Postgraduate Dramatic Film/TV Production Level : Year 2, semester 2 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Ms. ZHANG Weimin
Objectives An advanced workshop giving special attention to directing. This workshop provides guidance and study through all the steps a director follows. Students will utilize skills and concepts developed in Postgraduate Dramatic Film/TV Production. Coursework is designed to provide students with a workshop opportunity to refine their skills through the production of a series of individual/group narrative film projects, in which each student has an opportunity to direct, shoot, record, and edit. Advanced aesthetic principles of editing are examined through all forms of classic and current film and TV media. Lectures are supplemented by film screenings and stimulated shooting situations.
Learning Outcomes Individual film project: each student will complete one short 16mm film project with the max. length of 8 min (350feet). Individual TV project: each student will complete one TV project with the max. length of 15 min
Contents 1. Elements of Narrative 1.1 Story and plot 1.2 Character focalization 1.3 Rhythm and continuity 2. Advanced Narrative Structure 2.1 Analyze techniques in cinematography 2.2 Analyze techniques in production design 2.3 Analyze techniques in visual and sound editing 3. Advanced Image Control in Cinematography 3.1 Advanced Film camera technique 3.2 Advanced Video camera technique 4. Creative Lighting Technique 4.1 Lighting ratio and Image qualities 4.2 Advanced Lighting setup 4.3 Creating mood and atmosphere 5. Production Design 5.1 Make-up 5.2 Costumes 5.3 Set design 5.4 Project Screenings and critiques 6. Directing the Actor 6.1 General acting 6.2 Realistic acting 6.3 Method acting 6.4 Improvisation 7. Dramatic Point 7.1 Size of shot 7.2 Length of shot 7.3 Rhythm in acceleration 7.4 Pace, tone and climax 8. Editing Aesthetics 8.1 Functionalism 8.2 Realism 8.3 Formativism 9. Editing and Narrative Structure 9.1 Beginning and End 9.2 Editing for Subjects 9.3 Editing for Spectators 9.4 Timing of cuts 10. Extradiegetic Editing 10.1 Contrast 10.2 Parallelism 10.3 Symbolism 10.4 Leitmotif 11. Advanced Issues in Editing 11.1 Editing for narrative effect 11.2 Effective narrative transitions 11.3 Decisions of emphasis 12. Advanced Digital Audio Post-production for Film and Video 12.1 Creative sound design for film and video 12.2 Art of mixing 13. Project Screenings and Critiques
Mode of Tuition Workshops, demonstration, projects and critiques
Assessment Individual film Production (8 minutes) 40% Individual TV production (15 minutes) 60%
References Alton, J. (1995). Painting With Light. California: University of California Press. Aumont, J. (1986). Montage Eisenstein. Translated by Hildreth, l. and Ross, A. Bloomington: Indiana University Press. Carlson, V. (1994). The Professional Cameraman's Handbook. London: Focal Press. Case, D. (2001). Film Technology in Post Production. London: Focal Press. Douglass, J.S. & Harnden, G. P. (1995). Art of Technique, The: An Aesthetic Approach to Film and Video Production. Allyn & Bacon Publishing. Heisner, B. (1997). Production Design in the Contemporary American Film: A Critical Study of 23 movies and Their Designers. McFarland & Company. Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. London: Focal Press. Katz, S. D. (1998). Film Directing, Cinematic Motion: A Workshop for Staging Scenes. Studio City, California: Michael Wiese Productions. Mamer, B. (1999). Film Production Technique: Creating the Accomplished Imaged (2nd edition). Belmont, California: Wadsworth Publishing. Miller, P. (1999). Script Supervising and film continuity. London: Focal Press. Oldhan, G. (1995). First Cut: Conversations With Film Editors. California: University of California Press. Rowlands, A. (1989). Continuity in film and video. London: Focal Press. Sherman, E. (1988). Directing the Film: Film Directors on Their Art. Acrobat Books. Wheeler, P. (2001). Digital Cinematography. London: Focal Press
CTV 7180 Postgraduate 3-D Animation Workshop Number of units : 3 units (3,3,0)
Prerequisite : CTV 7060 3-D Modeling & Rendering Workshop Level : Year 2, semester 1 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This graduate level course presents the concepts, issues and techniques of the subject, using the software package Alias|Wavefront Maya as an example. There are many types of animation ranging from experimental / abstract to realistic. Students are required to not only be abl e to navigate a software interface, but also to create expressive motion. In the course, students will observe and analyze motion and explore different animation techniques in order to create believable, expressive motion. Animation, because of its time consuming nature, requires planning and organization. In this class, we will work accordingly so that students may consider the work produced in this class a significant and vital part of their developing portfolios. Aesthetic issues dealt with will include observation, story development, staging, timing, camera movement and framing. Successful animations, both computer-generated and traditionally generated, will be studied and discussed. There will also be an emphasis placed on storyboarding as a technique for the development and refinement of the student's own animation ideas. Technical issues dealt with will include keyframing, dope sheet and parameter graph editing, hierarchical animation, inverse kinematics, deformable surface, motion paths, camera animation, light animation, and output to video. Techniques will be presented through a combination of lecture, demonstration and in-class exercise. The course is organized to maximize hands-on experience and will include in-class exercise. Because of the way the classes are run, attendance at and active participation in the weekly classes are considered very important and are considered in grade calculations. There will be one short written exam on the technical principles of 3-D computer animation towards the end of the semester.
Learning Outcomes Successful students will typically be able to: 1. Have a knowledge and understanding of leading-edge computer graphics as applied to the computer animation medium. 2. Have a knowledge and understanding of the technology behind the latest generation of computer animation. 3. Use the persistence of vision concept. 4. Implement standard computer animation programming techniques. 5. Think creatively, make decisions and apply problem solving skills. 6. Communicate their ideas and understand the concept of order by sequencing events. 7. Use their imagination and translate ideas into action. 8. Gain an understanding of the principle of animation. 9. Participate in and productively respond to critique of work. 10. Demonstrate a strong and consistent work ethic. 11. Identify the available career opportunities, and describe the roles of people employed in environments that use or create animation.
Contents 1. General Perspectives 1.1 Basic Concepts of animation 1.2 History and background of 3-D computer animation 1.3 General workflow 1.4 The illusion of motion 1.5 Anatomy of an Animation Program 1.6 Character development 2. Storyboarding 2.1 Screenplay: subject, defined treatment and structure 2.2 Sequence of images and verbal description 2.3 Preliminary, presentation, and production storyboard 2.4 Visual style and look 2.5 Verbal description of the action 2.6 Sound and timing indication 3. Animation 3.1 Principles and structures: keyframes and inbetweening 3.1.1 Linear interpolation 3.1.2 Interpolation of position and orientation 3.1.3 Interpolation of shape and attributes 3.2 Expressive motion 3.2.1 Primary and secondary motion 3.2.2 Anticipation and follow-through 3.2.3 Overlapping action 3.2.4 Ease in and ease out 3.2.5 Time relations within actions for the illusion of life 3.2.6 Mass and weight, and preserve volume 3.2.7 Staging: the camera viewpoint to best show the action 3.3 Hierarchical animation 3.4 Model animation 3.4.1 Forward and Inverse Kinematics 3.4.2 Constraints and limits 3.4.3 Motion paths 3.4.4 Freeform shape changes 3.4.5 Rigging rigid surfaces on IK skeletons 3.4.6 Rigging flexible surfaces on IK skeletons 3.5 Deformer animation 3.6 Camera animation 3.7 Light, shader and texture animation 3.8 Introduction to motion dynamics 3.9 Rendering of frames and correct frame rate 3.10 Output
Mode of Tuition Lectures, demonstrations, critical appreciations, and workshop
Assessment Participation: 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Assignments x 3 60% (Bouncing ball, flower sack, and morphing exercises) Exam 20% (Text book: O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company - only chapters on animation)
References O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company Kerlow, I. (3rd ed) (2003). The Art of 3-D Computer Animation and Effects. New York: John Wiley & Sons Inc. Kerlow, I. (2nd ed) (1996). Computer Graphics for Designers and artists. New York: Van Nostrand Reinhold Foley, J. Dam, A. Feiner, S. and Hughes, J. (ED 2nd ed) (1996). Computer Graphics, Principles and Practice. California: Addison Wesley Culhane, S. (1988). Animation From Script to Screen. New York: St. Martin's Press Muybridge, E. (1955) The Human Figure in Motion. New York: Dover Muybridge, E. (1957) Animals in Motion. New York: Dover Laybourne, K. (1979). The Animation Book: a Complete Guide to Animated Filmmaking from flip-books to sound cartoon http://www.alias.com/eng/index.shtml http://www.highend3d.com/maya/tutorials http://www.3dcafe.com http://www.3dlinks.com
CTV 7190 Advanced 3-D Animation Production Workshop Number of units : 3 units (3,3,0) Prerequisite : CTV 7180 Postgraduate 3-D Animation Workshop Level : Year 2, semester 2 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This graduate level course deals with advanced issues of 3-D computer animation. The course will stress professional techniques and workflow methodology to maximize students' realization of their ideas and concepts. Students will develop highly accurate timing, to achieve their individual style of animation. The course should improve students' insight into what makes an animation succeed, whether it is computer generated or not. It should also improve students' abilities to themselves produce successful 3-D computer animation. The Alias|wavefront Maya and Adobe Premiere software packages will be used as an example and to produce the project. Each student will work on a single animation project throughout the entire semester. Maximum running time of the storyboard is two
minutes. A preliminary storyboard will be developed for the entire animation. In consultation with the instructor, the student will then select a 15-20 second segment to be produced. A presentation storyboard and production plan will be developed for this chosen segment. The student will then work on the production of this segment during the remainder of the semester. By developing a detailed production plan for a single animation, each student will begin to develop an in-depth understanding of what makes 3-D computer animation work - equally from the conceptual, aesthetic, technical, and production point of view. By limiting the actual production to only portions of the animation, you will have the experience of trying to bring an animation segment up to professional standards, and a realistic chance of doing so. In the workshop, students are expected to conduct themselves as professionals, Moreover, they are expected to be considerate and helpful peers to their classmates, to share knowledge, to be attentive and to provide thoughtful commentary during critiques, to participate heart and soul, to be on time, to present work in progress professionally, and to turn in the project on time and in a professional manner. There will be one written exam on the technical principles of 3-D computer animation towards the end of the semester.
Learning Outcomes Successful students will typically be able to: 1. Improve the insight into what makes an animation succeed. 2. Improve their abilities to produce successful three-dimensional computer animation. 3. Have a knowledge and understanding of the technology behind the latest generation of computer animation and special effects. 4. Explain how historical and traditional types of animation are the cornerstones for today's high tech animation industry. 5. Appreciate the historical development of animation and special effects. 6. Demonstrate an understanding of project management and effective teamwork. 7. Participate in and productively respond to critique of animation works. 8. Gain an in-depth understanding of the principles of animation and apply them to the work. 9. Demonstrate a strong and consistent work ethic. 10. Explain why knowledge of early technologies and methods of animation are useful and relevant to a contemporary career in animation. 11. Identify the available career opportunities, and describe the roles of people employed in environments that use or create animation.
Contents 1. Pre-production 1.1 Production planning 1.2 Character and model sketches 1.3 Preliminary storyboards 1.4 Final, presentation storyboard 1.5 Schedule for the completion of the animation 1.6 Organize by scene Vs by specification jobs 1.7 Technical tests and notes 2. Production 2.1 Models building 2.2 Model character, low / high details 2.3 Shaders / materials tests and preparations 2.4 Lighting effects in the scenes 2.5 Motion tests 2.5.1 Observation 2.5.2 Block timing tests 2.5.3 Live video recording 2.5.4 Primary and secondary motion 2.6 Clean up hidden surface 2.7 Camera setup 2.8 Rendering is related to modeling and animation 2.9 Soundtrack: collecting existing music or creating your own effects 3. Technical topics 3.1 Advanced modeling utilities 3.2 Motion dynamics and particle systems 3.3 Shape deformations 3.4 Expressions and scripting languages 3.5 Non-linear-animation, trax editor 3.6 Procedural animation 3.7 Skeleton, binding, and skinning 3.8 Super-sampling and hi-res textures 3.9 Rendering methods and strategies 4. Postproduction 4.1 Editing digitally, using Adobe Premiere / in video 4.2 Sense of timing 4.3 Flow of the images and sound 4.4 Alpha masking in Adobe Premiere 4.5 Import and export 4.6 Algorithmic touch and transitions 4.7 Typography and design, titles and credits 4.8 Recording
Mode of Tuition Lectures, demonstrations, critical appreciations, and workshop
Assessment Participation: 10% Pre-production assignments 30% (including storyboard, production plan, production schedule and timing tests) Project 50% (A completed twenty second project) Exam 10% (Text book: O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company)
References O'Rourke, M. (3rd ed) (2002). Principles of three-dimensional Computer Animation. New York: W.W. Norton & Company Kerlow, I. (3rd ed) (2003). The Art of 3-D Computer Animation and Effects. New York: John Wiley & Sons Inc. Kewlow, I. (2nd ed) (1996). Computer Graphics for Designers and artists. New York: Van Nostrand Reinhold Foley, J. Dam, A. Feiner, S. and Hughes, J. (ED 2nd ed) (1996). Computer Graphics, Principles and Practice. California: Addison Wesley Culhane, S. (1988). Animation From Script to Screen. New York: St. Martin's Press Muybridge, E. (1955) The Human Figure in Motion. New York: Dover Muybridge, E. (1957) Animals in Motion. New York: Dover Laybourne, K. (1979). The Animation Book: a Complete Guide to Animated Filmmaking from flip-books to sound cartoon http://www.alias.com/eng/index.shtml http://www.highend3d.com/maya/tutorials http://www.3dcafe.com http://www.3dlinks.com
CTV 7200 Interactive Multimedia Design Number of Units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Mr. David AU
Objectives The course focuses on the investigation and exploration of creative aspects of various interactive media for new forms of personal and collective expression. Aesthetic and technical issues in designing and developing interactive multimedia will be examined. These include the nature and application of interactivity, the potential and limitations of existing software and hardware tools, and the promise of future technologies. These new media are attracting media industry's attention both as extensions of existing media properties and as original works that can stand on their own. Through lectures, demonstrations, multimedia projects, students will be guided through the multimedia production process and application together with the examination of possibilities in its integration with different genres of new media.
Learning Outcomes Successful students will typically be able to: 1. Identify roles that media arts have in reflecting, sustaining, and challenging beliefs and traditions. 2. Demonstrate an understanding of the evolution of media arts technology to make images. 3. Identify a variety of tools and resources for creating and manipulating multimedia documents. 4. Demonstrate an understanding of multimedia terminology. 5. Use Advanced Editing and Multimedia Authoring Tools 6. Use text, and manipulate its behavior and appearance. 7. Design Multimedia and Interactive Interfaces and Create Images and video for multimedia. 8. Analyse the effectiveness of media elements used.
9. Design a multimedia solution to a problem. 10. Create a multimedia presentation to display the skills learned. 11. Think creatively, make decisions and apply problem solving skills. 12. Analyse the effectiveness of a multimedia project for its impact on the intended audience in terms of productivity, utility, and social consequences. 13. Participate in and productively respond to critique of work. 14. Identify the career opportunities for and roles of persons employed in environments that use interactive multimedia.
Contents 1. Interactive Media Form 1.1 Interactive Movies 1.2 Interactive Television 1.3 Interactive Entertainment 1.4 Interactive Educational Tools 1.5 Interactive Advertising 2. Design and Production 2.1 Linear Presentation and Building Blocks 2.2 Content analysis 2.3 Organizing multimedia storyboard 2.4 Production Methodologies 3. Multimedia Platforms and Tools 3.1 CD-ROM 3.2 Photo CD 3.3 DVD 3.4 WWW 3.5 Director and Flash 4. Construction of Interactive Visual Elements 4.1 Text and Graphics 4.2 Digital video 4.3 3-D Animation 4.4 Morphing 4.5 Special effects 5. Construction of Interactive Audio Elements 5.1 Audio design and processing 5.2 Voice, sound effects and music 5.3 Musical Instrument Digital Interface 6. Interactive Multimedia Components 6.1 Computer-human Interface 6.2 Optical Storage 6.3 Bandwidth and bit-depth 6.4 File Compression 7. Interactivity Programming 7.1 Levels of Interactivity 7.2 Creating Interactive Links 7.3 Use of Javascript and DHTML 7.4 Creativity in Multimedia Authoring 8. Audio and Video Streaming Technology 8.1 Streaming audio 8.2 Streaming Video 8.3 Hardware and software concerns 9. Principles of Web Design 9.1 Website design 9.2 Website maintenance 9.3 Website development 10. Postproduction process for Multimedia 10.1 Production testing and debugging 10.2 Packaging and Distribution 11. Multi-media and its Integration with Electronic Imaging Technologies 11.1 Digital TV 11.2 High Definition TV 11.3 Virtual Reality 12. Issues in Designing and Developing Interactive Media Form 12.1 Business and legal issues 12.2 Multimedia database management 12.3 Audience and environment
Mode of Tuition Lectures, tutorials, workshops, projects and presentations
Assessment Assignment 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Presentation 30% Final Individual Project 50%
References Anderson, C.J. & Veljkov, M.D. (1990). Creating Interactive Multimedia: A Practical Guide. Illinois: Scott, Foresman. Bunzel, M.J. & Morris, S.K. (1992). Multimedia Applications Development. New York: McGraw-Hill. Burger, J. (1993). The Desktop Multimedia Bible. New York: Addision-Wesley. Faulkner, C. (1998). The Essence of Human-Computer Interaction. Prentice Hall. Lipton, R. (1992). Multimedia Toolkit. New York: Random House. Mohler, J.L. (2001). Flash 5 Graphics, Animation and Interactivity. Onword Press. Murie, M.D. (1993). Macintosh Multimedia Workshop. Indiana: Hayden. Oppenheim, C. (1998). CD-ROM Fundamentals to Applications. London: Butterworths.
CTV 7210 Sound Design for Media Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Mr. David AU
Objectives This course aims to achieve a deeper understanding of the creative potential of sound in media. Based on practical exercises, the subject offers a structured practical introduction to the skills and disciplines of film sound recording and post-production, and in-depth familiarization with the recording and editing of digital audio. Students will master the skills of recording, editing and mixing for film, television and internet by working on assigned projects, combining all ADR, Foley, Dialog, and Effects elements to the composite soundtrack.
Learning Outcomes Students should: 1. Be able to interpret the in-depth meaning and motivation of the sound and music used in various forms of media. 2. Develop a strong sense for creativity and experimentation with sound design in all media. 3. Develop a critical aural sense for audio fidelity at the advanced level. 4. Be able to acquire the technical skills as required in on-location shooting and audio post-production process.
Contents 1. Sound for media 1.1 Television sound 1.2 Film sound 1.3 Animation sound 1.4 Radio sound 1.5 Internet sound 2. Roles of sound 2.1 Information 2.2 Inner versus outer orientation 2.3 Energy and structure 3. Audio-visual combination 3.1 Picture-sound matching criteria 3.2 Homophonic versus Polyphonic structure 3.3 Audio-visual parallelism and counterpoint 3.4 Sound and music montage 4. The sound crew 4.1 Dialogue editor
4.2 Music editor 4.3 Sound effects editor 4.4 Sound designer 5. Production Sound 5.1 On-location recording setup 5.2 Multi-miking and multi-tracking 5.3 Advanced recording skills 6. Postproduction Procedures 6.1 Editing to picture lock 6.2 Film versus video formats 6.3 Film formats and generations 7. Voiceover recording 7.1 Diction and clarity 7.2 Rhythm and timing 7.3 Acting and dramatic interpretation 7.4 Vococentrism 8. Creative Sound effects 8.1 The art of foley 8.2 Technique of foley recording 8.3 Inventing sound props 9. Musical aesthetics for images 9.1 Music's relationship to sound 9.2 Music as drama 9.3 The mechanics of music scoring 10. Audio softwares for multimedia 10.1 Digidesign Protools 10.2 Digidesign Samplecell 10.3 Cakewalk Audio 11. The future of sound 11.1 Audio Installation 11.2 Soundscape 11.3 Sonic Arts
Mode of Tuition Workshops, demonstrations, analysis and projects
Assessment Individual Skill Test 20% Midterm Project 30% Final Project 50%
References Chion, M. & Gorbman, C. (1994). Audio-Vision. New York: Columbia U. Press. Collins, M. E. (2002). Pro Tools for Music Production: Recording, Editing, and Mixing. London: Focal Press. Dan, C. (1991). Music in film and video productions. London: Focal Press. Gibson, D. & Petersen, G. (1997). The Art of Mixing : A Visual Guide to Recording, Engineering, and Production. California: Mix Bookshelf/ Mix Books. Holman, T. (2001). Sound for Film and Television. London: Focal Press. Kenny, T. (1997). Sound for Picture : The Art of Sound Design in Film and Television. Hal Leonard Publishing Corporation. Lastra, J. (2000). Sound Technology and the American Cinema (Film and Culture Series). New York: Columbia University Press. LoBrutto, Vincent (1994). Sound-on-Film: Interviews with Creators of Film Sound. Westport, CT: Praeger Publishers. Morgan, D. (2000). Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema. Harper Entertainment. Pendergast. R. M. (1992). Film Music : A Neglected Art : A Critical Study of Music in Films. W.W. Norton & Company. Russell, M. & Young, J. (2000). Film Music : Screencraft. Butterworth-Heinemann. Sonnenschein, D. (2001). Sound Design : The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City, California: Michael Wiese Productions. Yewdall, D. (1999). The Practical Art of Motion Picture Sound. London: Focal Press.
CTV 7220 World Cinema: History, Aesthetics, and Cultural Issues Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 1, semester 1 Duration : 45 hours Planner/Instructor : Dr. Ian AITKEN, Dr. YEH Yueh Yu
Objectives This subject serves as an advanced introduction to the discipline of film studies. Emphasis will be placed on learning rudiments of film art, form, style and history. Highlights include basic film elements, early and modern art ci nema, classical Hollywood cinema, national cinemas, counter cinema, non-Western cinema such as Third World filmmaking and non-fiction film practices such as avant-garde and documentary film. By the end of the course, the student is expected to understand the history of cinema as a formal, artistic, industrial, cultural and political entity.
Learning Outcomes 1. To achieve an understanding of some of the major movements, figures and films in world cinema history. 2. To develop a critical attitude towards the understanding of cinema history 3. To develop an ability to place films, figures and ideas within a historical context 4. To develop skills in dealing with academic lectures, and in note-taking and revision 5. To inculcate an appreciation of the quality and importance of the world cinema heritage
Contents 1. Film Form: Fiction 1.1 Mise-en-scene, cinematographic properties of the film image, sound, narrative and editing
1.2 Germen Expressionism 1.3 Soviet Montage 1.4 French Poetic Realism 2. Film Form: Non-fiction 2.1 Classical avant-garde 2.2 Documentary 2.3 Ethnographic film 3. Hollywood 3.1 Classical Hollywood Film Style 3.2 Non-classical Hollywood Cinema 3.3 Hollywood as Industry 4. Art Cinema 4.1 Italian Neo-realism 4.2 The French New Wave 4.3 German New Cinema 4.4 Eastern Europe 4.5 Asia 5. Modernism and Counter-Cinema 5.1 Feminist Film 5.2 Black Cinema 5.3 European high Modernists 5.4 American Independent 5.5 Queer 5.6 Underground film 6. Third World Filmmaking 6.1 Africa 6.2 Latin America 6.3 Asia 6.4 Problematics
Mode of Tuition Screening, lectures, class discussion
Assessment Final exam 50% Class tests 30% Discussion participation 20%
Required readings selected from: Armes, Roy. (1987). Third World Filmmaking and the West. Berkeley: University of California Press. Bordwell, David and Kristin Thompson. (1996, 5th edition). Film Art: An Introduction. New York: McGraw-Hill. Cook, David. (1996. 3rd ed.). A History of Narrative Cinema. New York: Oxford University Press. Kolker, Robert. (1983). The Altering Eye: Contemporary International Cinema. New York: Oxford University Press. Ray, Robert. (1985). A Certain Tendency of the Hollywood Cinema, 1930-1980. Princeton, N. J: Princeton University Press. Thompson, Kristin and David Bordwell. (1994). Film History: An Introduction. New York: McGraw-Hill.
Recommended Readings selected from: Bordwell, David. (1997). On the History of Film Style. Cambridge: Harvard University Press James, David, (1989). The allegories of Cinema. Princeton, N. J: Princeton University Press Kolker, Robert, (2001). Film, Form, and Culture [electronic resource]: the Cinema Studies CD-RO. Boston: McGraw-Hill Companies. Nowell-Smith, Geoffrey. (Ed)(1996). The Oxford History of World Cinema. Oxford: Oxford University Press. Nelmes, Jill. (Ed)(1999, 2nd ed). An Introduction to Film Studies. New York: Rouledge.
CTV 7230 Graduate Seminar on Chinese New Waves Cinema Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2, semester 1 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Dr. YEH Yueh Yu
Objectives This course analyses textual and institutional features of various Chinese New Waves, including those from Hong Kong, Taiwan and the PRC's Fifth Generation. Close analysis of films, historical background and exploration of critical controversies will be taken. Comparative perspectives are also incorporated to tease out differences and similarities of industry, audiences, auteurism and cultural politics. Experts of each individual New Wave movement will be invited to participate on the seminar.
Learning Outcomes Students should: 1. Understand the origin and rise of the Fifth Generation; Mainland and Taiwan New Cinema and the Hong Kong New Wave cinema. 2. Familiarize with the aesthetics and implication of films by leading figures of the New Wave Cinema: Tsui Hark, Ann Hui, Patrick Tam, Allen Fong, etc.
Contents 1. Introduction: 1.1 Hong Kong New Wave 1.2 Taiwan New Cinema 1.3 The Fifth Generation 2. Hong Kong New Wave 2.1 Industry 2.2 Auteurs 2.3 Critical Reception 2.4 Audience
3. Taiwan New Cinema 3.1 Industry 3.2 Auteurs 3.3 Critical Reception 3.4 Audience 4. The Fifth Generation 4.1 Industry 4.2 Auteurs 4.3 Critical Reception 4.4 Audience 5. Historical Overview: Compare and Contrast 5.1 Decline and Disappearance 5.2 Co-option 5.3 Post New Waves
Mode of Tuition Lecture, seminar and class discussion.
Assessment Seminar paper 70% Presentation 20% Participation 10%
Readings Ni, Zhen. Stories of the Beijing Film Academy. Trans. Chris Berry. Duke University Press, 2003. Yau, Esther, ed. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001. Chiao, Hsiung-ping, ed. Hong Kong New Wave. Taipei: China Times, 1987. ---, ed. Taiwan New Cinema. Taipei: China Times, 1988. Cheuk Pak Tong. Hong Kong New Wave Cinema. Hong Kong: Center for Hong Kong and Cultural studies, Chinese University of Hong Kong, 2003. Cornelius, Sheila. New Chinese Cinema: Challenging Representations. New York: Wallflower, 2002. Berry, Chris, ed. Perspectives on Chinese Cinema. London: BFI, 1991
CTV 7240 Critical Issues of Film Theory and Criticism Number of units : 3 Units (3,3,0) Prerequisite : CTV 7220 World Cinema: History, Aesthetics and Cultural Issues Level : Year 3 Duration : 45 hours Planner/Instructor : Dr. YEH Yueh Yu
Objectives This course is designed to acquaint students with contemporary film theory and criticism. It has two focuses. The first is to survey film theory and criticism chronologically, from the post-war period to the full-fledged development of film studies in the late 1970s. The second focus is to guide students through the application of key theories and critical tools in film studies. Various methods of film analysis and criticism will be discussed in detail, including realism, auteur criticism, ideology, cine-modernism, third world cinema and third cinema, psychoanalysis, feminist film criticism, postmodernism and Orientalism.
Learning Outcomes At the end of the course, students are expected 1. to be familiar with the disciplinary protocols of film studies and capable of analyzing a film critically, 2. to understand film as a formal construct, 3. to place films within a broader theoretical, generic, political, gendered, national and cross-cultural context.
Contents 1. Canon Formation 1.1 Cine-realism 1.2 Formalism and poetics 1.3 Film authorship 2. Structuralism 2.1 Semiotics 2.2 Film as language 3. Radical Theory after May 1968 3.1 Ideology and politics 3.2 Cine-modernism and counter cinema 3.3 Third World Cinema and Third Cinema 4. Post-structuralism 4.1 Psychoanalysis 4.2 Feminist Film Criticism 4.3 Critique of post-structuralist theory 5. Postmodernism 5.1 Pastiche and nostalgia 5.2 Simulacra 5.3 Meta-narrative 6. Postcolonial Theory 6.1 Theory of hybridity 6.2 Orientalism 6.3 Subaltern study 6.4 Critique of postcolonial theory
Mode of Tuition Screening, lectures, class discussion and presentation
Assessment Research paper 50% Mid-term paper 30% Discussion participation and presentation 20%
Required Readings selected from Adorno, T. and Horeheimer, M.. (1991). Dialectic of Enlightenment. New York: Continuum. Andrew, D. (1976). The Major Film Theories. New York.: Oxford University Press Ashcroft, B., Griffiths, G. , and Tiffin, H.. (Ed) (1995). The Post-colonial Studies Reader. New York: Routledge. Barthes, R. (1974). S/Z. New York: Noonday. Baudrillard, J. (2001). Selected Writings. Stanford, Calif.: Stanford University Press. Basin, A. (1967). What is Cinema? Vol. I. Berkeley: University of California Press Bordwell, D. (1988). Ozu and Poetics of Cinema. Princeton: Princeton University Press Bordwell, D. (1989). Making Meaning. Cambridge: Harvard University Press. Bordwell, D. and Staiger, J. and Thompson, K. (1985). The Classical Hollywood Cinema: Film Style & mode of Production to 1960. New York: Columbia University Press. Eisenstein, S. (1957). Film Form. New York: Meridian Books. Hoesterey, I. (2001). Pastiche: Cultural Memory in Art, Film, Literature. Bloomington: Indiana University Press. Lunn. E. (1982). Marxism and Modernism. Berkeley: University of California Press. Metz, C. (1982). The Imaginary Signifier. Indiana University Press. Nicholas, B. (Ed)(1976). Movies and Methods. Vol. I and II. Berkeley: U of California Press. Pines, J. and Willemen, P. (Ed)(1989). Questions of Third Cinema. BFI. Said, E. (1979). Orientalism. Vintage. Stam, R. and Miller, T. (Ed)(2000). Film and Theory: An Anthology. Malden Mass.: Blackwell Publishers. Stam, R. (2000). Film Theory: An Introduction. Malden, Mass.: Blackwell Publishers. Young, R. J.C. (1999). Introducing Postcolonial Theory.Blackwell Publishers.
Recommend Readings selected from Ashcroft, B. (1998). Key Concepts in Post-colonial Studies. New York: Routledge. Kaplan, E. A. (Ed) (2000). Feminism and Film. New York: Oxford University Press. Lapsley, R. and Westlake, M. (1998). Film Theory: An Introduction. Manchester, UK: Manchester University Press. Mast, G. , Cohen, M. and Braudy, L. (Ed, 4th ed.) (1992). Film Theory and Criticism. Oxford University Press. Schatz, T. (1981). Hollywood Genres. UT Austin UP. Silverman, K. (1983). The Subject of Semiotics. Oxford University press. Stam, R., Burgoyne, R. and Flitterman-Lewis, S. (1992). New Vocabularies in Film Semiotics: Structuralism, Post- structuralism, and Beyond. New York: Rouledge. Thornham, S. (Ed) (1999). Feminist Film Theory: A Reader. New York: New York University Press.
CTV 7250 Graduate Seminar on Hong Kong Television Number of units : 3 Units (3,3,0) Prerequisite : Nil
Level : Year 2, semester 2 Duration : 45 hours Planner : Dr. CHEUK Pak Tong, Dr. NG Chun Bong
Objectives This seminar series explore the expertise and professionalism of Hong Kong Television industry. It is designed to allow the students to share their opinions, experiences and reflections on local television with the major TV professionals invited. Controversial issues of Hong Kong TV culture, programming battle, market competition, audience reception, new technology and transnational-co-production are discussed.
Learning Outcomes Student should: 1. Understand the development of the Hong Kong Television industry. 2. Understand the influence of the Hong Kong Television industry on mainland China, Taiwan, Singapore, Indonesia and Malaysia, etc. 3. Be able to help other countries to develop their TV industry.
Contents 1. Industry and Organization 1.1 The rise and fall of network system 1.2 Broadcasting and narrow-broadcasting 1.3 The concept of alternative TV 1.4 Advertisement and consumersion 2. Programming Battle and Market Competition 2.1 Audience rating and viewing habits 2.2 Case studies on Hong Kong TV Battles 2.3 TV & other media competition 2.4 Population change and TV programming 3. Voyeurism and Hong Kong Television 3.1 Epistemophilia and Info-tainment Programme 3.2 Television as Paparazzi 3.3 Tabloid Television in Hong Kong 3.4 "Big Brother" show in Hong Kong 4. High Anxiety: TV as Crisis Resolution 4.1 Social Anxiety and TV News 4.2 War and Terrorism in TV 4.3 Conflict and Crisis Element in TV Drama 4.4 Exile Television 5. Creative Challenge in Hong Kong Television 5.1 The Rise and Fall of TV Drama 5.2 Drama vs Game Show 5.3 Sports as Mass Entertainment 5.4 Producing "True-man" Show 6. "My TV Programme" 6.1 Case Studies on Hong Kong TV Programme 6.2 Produces on His Works 6.3 Scriptwriter on His Works 6.4 Critics on Producers/Scriptwriters 7. Globalization of Hong Kong Television 7.1 Global Perspective of Hong Kong TV 7.2 Trans-strait/Transnational Co-production 7.3 Production Concepts and the Acquisition of Skills Overseas 7.4 Hong Kong Professionals in Asian Region and their Contribution 7.5 Towards and Television of Greater China
Required Readings Selected From Barker, M. and Petley, J. (ed) (1997). Ill Effect: The Media/Violence Debate. London and New York: Routledge. D'Agostino, P. and Tafler, D. (1995). Transmission: Toward Post-Television Cutlure. London: Sage Publication. French, D. and Richards, M. (ed) (1996). Contemporary Television-Eastern Perspective. London: Sage Publication. Gauntlett, D. and Hill, A. (1999). TV Living. London and New York: Routlege. Ma, K.W. (1999). Culture, Politics and Television in Hong Kong. London and New York: Routlege. Selby, K. and Cowdery, R. (1995). How to Study Television. London: MacMillan. Smith, A. (ed) (1995). Television, an International History. New York: Oxford University Press. Whannel, G. (1992). Fields in Vision: Television Sport and Cultural Transformation. London and New York: Routlege. Wilson, T. (1993). Watching Television, Hermeneutics, Reception and Popular Culture. Cambridge: Polity Press. 1996 1999 1997 2001
CTV 7260 Hong Kong Media and Globalization Number of Units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 3, semester 1 Duration : 45 hours
Planner : Mr. David AU, Dr. CHEUK Pak Tong
Objectives The subject explores the Hong Kong media, with emphasis on cinema and television, in its social-historical context from 30's to the present. Its impact on both Asian and global media and community will be thoroughly examined. Attention will be paid to the processes and patterns of the changes in Hong Kong media industries as a major shaping force of globalization.
Learning Outcomes Students should: 1. Achieve a deeper understanding of the developmental process of Hong Kong media and its various impact on both Asian and global media and community. 2. Understand the processes and patterns of the changes in Hong Kong media industries as the primary shaping force of globalization. 3. Develop a global perspective in terms of future development of both domestic and global media market.
Contents 1. Defining Globalization 1.1 Global Perspective of Hong Kong cinema 1.2 Global Perspective of Hong Kong television 2. Historical Perspective of Hong Kong Cinema 2.1 HK cinema before 2nd World War 2.2 HK cinema and Shanghai in 30s-40s 2.3 HK cinema after 1949 3. Growth of Hong Kong movies in overseas market 3.1 Hong Kong movies in Southeast Asia 3.2 Hong Kong movies in Taiwan 3.3 Hong Kong movies in Mainland China 4. Shaw's Brother and Asia 4.1 Collaboration with Korea and Japan 4.2 Collaboration with Malaysia, Phillipines and Thailand 5. Hong Kong Cinema and Globalization 5.1 Recognition in international film festival: Cannes and Milan 5.2 Distribution of HK films in foreign mini-theaters and art house 5.3 Release of HK films in mainstream commercial circuits in the West 6. Hong Kong Television and Globalization 6.1 Transnational Co-production and Broadcast 6.2 International awards and recognition 7. Hong Kong Television in S.E. Asia 7.1 Hong Kong TV programme in Malaysia 7.2 Hong Kong TV influence on Singapore TV Industry 7.3 Hong Kong TV influence on TV station setup in Indonesia
8. Hong Kong Television and Taiwan 8.1 Popularity of TV drama series in 80's 8.2 TVBS in Taiwan 9. Hong Kong Television and China 9.1 Trans-border broadcast 9.2 Entry to China Television market 10. TVB in North America and Europe 10.1 Satellite TV Broadcast to U.S., Canada and Australia 10.2 Satellite TV Broadcast to England and France 10.3 Co-Shareholding of Fairchild TV in Canada 11. Foreign Influence on Domestic Media Market 11.1 Korean TV series 11.2 Korean Films 11.3 Japanese TV series 11.4 CCTV, ETTV, CNN, BBC, Discovery, Asia News Channels 12. The Current Domestic TV Broadcasting Market 12.1 Pay TV 12.2 Cable TV 12.3 Satellite TV 12.4 Web TV 13. Contribution of Hong Kong TV and Film Industry professionals 13.1 To Hong Kong 13.2 To Greater China 13.3 To S.E. Asian Region 13.4 To Hollywood and the West
Mode of Tuition Lectures, discussions, projects and presentations
Assessment Midterm Paper 20% Presentation 30% Final Research Paper 50%
References 2001 2000 (2002)2001 (2001) (2000) (2002) (1997)90 (1999) "Television Broadcast Limited" Hong Kong: TVB. 2002. Wang, G (co-edited with Servaes, J. & Goonasekera, A.) The New Communication Landscape: Demystifying Media Globalisation. London: Routledge. Waters, M. (1995) Globalisation. London. Routledge.
CTV 7270 Current Issues of Asian Media Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 3 Duration : 45 hours Planner : Dr. YEH Yueh Yu
Objectives This subject is designed as an introduction to the latest media development in the East Asian region, with a focus on trades, marketization, branding, distribution and new mode of exhibition. In addition to lectures on the background and history of East Asian cinema, guests from the Asian media industry will be invited to share their work and experiences with advanced students, which will be followed by relevant discussions on major issues of Asian Media. The relationship between politics, aesthetics, technology, and media market will be investigated through various current cases.
Learning Outcomes To have a basic understanding of the institutions and culture history of East Asian cinema as a regional cinema To obtain an updated knowledge of East Asian market as an emerging film market in the world To acquire a comparative perspective on the difference of and connection among national cinemas in East Asia To identity major players and their roles in creating (East) Asia as a brand name in world film trade
Contents 1. Introduction of Asian Media 1.1 Japan 1.2 Korea 1.3 Hong Kong 1.4 Taiwan 1.5 China 1.6 Singapore 1.7 Malaysia 2. Financing, Distribution and Marketing 2.1 East Asia as a new integrated market 2.2 Financing 2.3 Distribution 2.4 Marketing 3. Media Convergence 3.1 New technology and media policy and regulations 3.2 Exploring the Internet
3.3 Latest media technology development 4. Major Players 4.1 Movie Moguls 4.2 Transnational and Global TV Networks 4.3 Media Conglomerates
Mode of Tuition Lecture, seminar, class discussion
Assessment Seminar paper 70% Presentation 20% Participation 10%
Readings Brian Moeran, Asian media productions. Richmond, Surrey: Curzon, 2001. Venkat Iyer, ed. Media regulations for the new times. Singapore: Asian Media Information and Communication Centre, 1999. Anura Goonasekera & Paul S.N. Lee, ed. TV without borders : Asia speaks out. Singapore: Asian Media Information and Communication Centre, 1998. Timothy J. Craig, ed. Japan pop!: Inside the world of Japanese popular culture. Armonk, N.Y.: M.E. Sharpe, 2000. Public service broadcasting in Asia: surviving in the new information age. Singapore: Asian Media Information and Communication Centre, 1999. Shad Saleem Faruqui and Sankaran Ramanathan, ed. Mass media laws and regulations in Malaysia. Singapore : Asian Media Information and Communication Centre, 1998. Ang Peng Hwa and Yeo Tiong Min, ed. Mass media laws and regulations in Singapore. Singapore: Asian Media Information and Communication Centre, 1998. Stephanie Hemelryk Donald, Michael Keane and Yin Hong, ed. Media in China: consumption, content and crisis. London; New York: Routledge Curzon, 2002.
CTV 7280 Principles of Digital Video and Computer Graphics Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This course aims at explaining the working principles and theories behind most of the latest digital content creation tools in the area of computer animation and digital video production. It is believed that only with a solid and thorough understanding of the driving mechanism would the potential and power of these tools be fully exploited. During the course, students are taught with the general principles and not bounded with any particular software packages. We will examine how an object is represented within the computer
and the rendering pipeline in which it must has to go through before the final color of the pixel can be determined. Besides, we will look at how the digital revolution transforms the way video is acquired, stored, processed, edited and delivered.
Learning Outcomes Successful students will typically be able to: 1. Have broad knowledge of the practice, theory and history of DV and CG. 2. Have broad knowledge of the rendering pipeline in which it must has to go through before the final color of the pixel can be determined. 3. Apply the principles and regulations in their work environment. 4. Explain basic digital logic 5. Apply appropriate production processes to create products. 6. Describe systems integration. 7. Analyse and solve problems related to the performance of systems. 8. Determine what kind of codecs to use for different purposes. 9. Use appropriate technical vocabulary and information technology tools to communicate solutions. 10. Participate in and productively respond to critique of work. 11. Articulate and contribute their learning process in future endeavors.
Contents 1 Geometric Objects and Transformations 1.1 Scalars, Points and Vectors 1.2 Coordinate Systems and Frames 1.3 Basic Transformation: Rotation, Translation and Scaling 1.4 Parametric Curves and Surfaces representation 1.5 Modeling shape with Polygonal Mesh and Subdivision Surface 2 Three-Dimensional Viewing 2.1 Camera Model 2.2 Perspective projections of 3D objects 3 Rendering Faces for Visual Realism 3.1 Introduction to Shading Models 3.2 Flat Shading and Smooth Shading 3.3 Hidden Surface Removal 3.4 Texturing Mapping to Faces: Planar mapping, Environmental Mapping 3.5 Adding Shadow to Objects 3.6 Antialising techniques: Supersampling and Stochastic Sampling 3.7 Local Reflection Model and Global Illumination 4 Animation Principles 4.1 Interpolation and keyframe system 4.2 Principles of Forward and Inverse Kinematics 4.3 Procedural animation 4.4 Particle system and dynamics 5. Digital Video 5.1 Principles of sampling theory an signal processing 5.2 Comparative study of analog and digital video signal 5.3 Compression: principles and standards 5.4 Use digital compression and decompression in video processing 5.5 Digital effects: compositing, motion tracking, morphing, color correction 5.6 Properties of different digital transmission and deliver channels such as DVD, Internet, wireless network 5.7 Streaming audio and video on Web
Mode of Tuition Lectures, tutorials, workshops, screening and discussions
Assessment Assignments 40% (Students will gain hands-on experience through in-class critiques, exercises, and work sessions.) Project 60% (A digital production in film/ video/ TV)
References Parent, Rick. (2002). Computer Animation: Algorithms and Techniques. San Francisco, Calif.: Morgan Kaufmann. F.S. Hill Jr. (2001). Computer Graphics using OpenGL (2nd ed.). New Jersey: Prentice Hall. R. Barzel. (1992). Physically-based Modeling for Computer Graphics. Academic Press. Brinkman, Ronald (1999). The Art and Science of Digital Compositing. San Diego : Morgan Kaufmann ; Academic Press. Poynton. Charles A. (2003). Digital Video and HDTV: algorithms and interfaces. Amsterdam;Boston: Morgan Kaufmann. Waggoner,Ben. (2002). Compression for great digital video: power tips, techniques and common sense. Lawrence, Kansas: CMP. Hanzo Lajos.(2001). Wireless video communications: second to third generation systems and beyond. New York: IEEE Press.
CTV 7290 Critique of Contemporary Arts Number of Units : 3 units (3,3,0) Prerequisite : Nil Level : Year 1, semester 2 Duration : 45 hours Planner : Ms. Yvonne LO
Objectives This team-taught subject will introduce students the critical issues and works of contemporary art and their impact on western and world culture. Students will be required to analyzed works produced during the recent movements of futurism, constructivism, modernism, and postmodernism and explore the relationships among form, process, perception and intention through the artists' works. Students will make two oral reports on pre-assigned topics and submit a term paper in relation to the art movement they study.
Learning Outcomes
1. to be able to understand the concept of western art history under the framework of visual culture. 2. to be able to understand historical, economical, political, and sociological conditions of modern and contemporary art movements 3. to be able to apply the mode of analysis to some contemporary art works. 4. to be able to write art criticism on selected art movements.
Contents 1. History and aesthetics of modern art movements, from 1900-1950 1.1 Postimpressionism 1.2 Expressionism 1.3 De Stijl 1.4 Surrealism 1.5 Abstract Expressionism 1.6 Cubism 1.7 Constructivism 1.8 Futurism 2. History and aesthetics of art movements after 1950 2.1 Assemblage and Junk Sculpture 2.2 Happenings and environment 2.3 Pop art and offshoots 2.4 New realism 2.5 Sculpture in pace, earth works 2.6 Performance, motion and light 2.7 Optical painting 2.8 Photo-realism 2.9 Conceptualism 3. New art forms and their directions after 70's 3.1 Photographic technologies and new art forms 3.2 Film, video and other times-based media 3.3 Synthetic art form: electronic images, sound, text as new communication tools 3.4 Media art 4. Issues related to arts, culture, and technology 4.1 Humanity 4.2 Existentialism 4.3 Gender 4.4 Politics
Mode of Tuition Lectures, slide shows, screenings, gallery and museum visits, and discussions
Assessment Assignments 1. Studio assignments 30% 2. Production paper and production work 30% 3. Term Paper 40%
References Arnason, H. (1977) A History of Modern Art. London: Thames and Hudson Druckrey Ted (1996) Electronic Culture: Technology and Visual Representation, New York: Aperture Drucker, Johanna(1995) The Century of Artist's Books, New York: Granary Books Gale research (1991) Modern Arts Criticism, Detroit: Gale Research Florence P. & Foster N ed. (2000) Differential Aesthetics: Art Practices, Philosophy and Feminist Understandings, England: Ashgate. Goldman J. (1998) The Feminist Aesthetics of Virginia Scarecrow Press. Macdonald, S. (1998) The Politics of Display: Museum, Science, Culture. London: Rouledge. Pollock, G. (1992) Vision and Difference, London: Rouyledge Kruger B. & Linker K. (1990) Love for Sale, New York: Harry N. Abrams, Inc. Publishers. Rutsky R. (1999) High Techne. Minneapolis: University of Minnesota Press Johnson, M. (1988), Mind, language, machine: artificial intelligence in the poststructuralism age, Houndmills: Macmillang. Klotz, Hienrich(1996) Mediascape New York: Guggenheim Museum Publications Knobler, N. (1980) The Visual Dialogue 3ed. New York: Holt, Rinehart Winston Lovejoy, M. (1992), Postmodern Currents: Art and Artists in the age of Electronic Media, New Jersey: Prentice Hall Hanssen, B. (2000), Critique of violence: between Post structuralism and critical theory, Kibdib: Routledge Benjamin A.ed. (1998), Post-structuralism classics, London: Routledge Maleuvre, D(1990) Museum Memories: History, Technology, Art, Calif: Stanford University Press Pavel, T. (1989), The fedu of language: a history of structuralist thought, Oxford: Blackwell Schwartz (Hans-Peter)(1997) Media Art History, Munich: Prestel Woolf: Modernism, Post-Impressionism, and the politics of the Visual, Cambridge: Cambridge University Press Willoquet-M. P. & Alemany-Galway M., d (2001) Peter Greenaway's postmodern/poststructuralist cinema, Lanham: Walker J. & Chaplin, S., Visual Culture: an introduction, MA: Manchester University Press1997
CTV 7300 Great Works and Human Condition Seminar Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 1, semester 2 Duration : 45 hours Planner : Dr. LO Wai Luk
Objectives This seminar is designed for student artists to share their reading, watching, listening experiences of and reflections on selected great works of humanity. The first few weeks would be conducted as lectures. The nature of great works and their insights on the human condition will be discussed. The remaining weeks are presentations conducted by the students themselves; Epics, Dramas, Novels, Poetry, Non-fictions, Paintings, Calligraphies, Music, Architectures, Gardens, Cites, Cultural Artifacts, and other significant human creations may all be included. Issues of life's mystery, its origin, meaning, and finality as well as cruelty of the plain fact of humanity and reality will be discussed.
Learning Outcomes The students will read and discuss great works of humanity. They will be able to appreciate different forms of significant human creations, develop their own concerns in life and humanity, and present their reflections in the form of research papers.
Contents 1. What is a great work? 1.1 Longinus's On Sumbline 2. Greek Tragedy and Tragic Theory 2.1 Aristotle's Poetic 2.2 Sophocles's Antigone 3. Selected Chinese Classics 3.1 The Dream of the Red Chamber 3.2 Peach Blossom Fan 4. Selected works of a film director and a contemporary writer 4.1 Kurosowa, Bergman, or Eisenstein 4.2 Brecht, or Beckett 5. Presentations 6. Conclusion
Mode of Tuition Lectures, seminar, discussions
Assessment Assignment 20% Presentation 20% Term Paper 60%
References Arendt, H. (1998). The Human Condition. Chicago: University of Chicago. Aristotle. Poetics Calvino, Italo. (1999). Why Read the Classics?. London: Vintage. Farley, E. (1990). Good and Evil: Interpreting a Human Condition. Minneapolis: Fortress Press. Krutch, J. W. (1959). Human Nature and the Human Condition. New York: Random House. Longinus. On the Sublime McNeill, W. H. (1980). The Human Condition: an Ecological and Historical View. Princeton, N.J.: Princeton University. Parsons, T. (1978). Action Theory and the Human Condition. New York: Free Press. Toshwald, M. (1999). The Transient and the Absolute: an Interpretation of the Human Condition and of Human Endeavor. Westport, Conn.: Greenwood Press. Tymieniecka, Anna-Teresa ed. (1984). The Existential Coordinates of the Human Condition, Poetic-Epic-Tragic: the Literary Genre. Boston: D. Reidel.
CTV 7310 Independent Study Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2, Semester 2 Duration : 45 hours Planner : Dr. CHEUK Pak Tong
Objectives Students may enroll in an independent project to experiment on the creative use of visuals and sound, special way of telling a story, or any project that is not covered by an existing course (e.g., acting and directing, MTV) in the program. Working with a faculty member, students develop a plan of study that outlines the project, the schedule, and the number of contact hours with the faculty (at least one meeting every two weeks is required). The subject can be repeated once with a different topic.
Learning Outcomes The student will work through a creative project that is original, and even experimental. At the end of the subject, the student will experience a leap in the sense of creation. Moreover, the student will develop a mentor/mentee relationship with a faculty member.
Mode of Tuition Tutorial, Workshop
Assessment Tutorial Process 30% Project 70%
CTV 7330 Internship Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 2 Duration : Variable Planner : Mr. David AU, Dr. CHEUK Pak Tong
Objectives The internship is normally of at least two months full-time employment, and students are required to conform to all reasonable requirements of their internship employer. Both the employer and the student file reports with the CTV Department after the internship. Base on the reports, the student's journal and an oral presentation, the internship is graded.
Learning Outcomes Students should: 1. Understand and appreciate the responsibilities of being a team member in the real-world environment. 2. Be able to apply their knowledge and skills acquired in the real-world situation.
3. Learn to communicate with different personnel within a team work context. 4. Be able to identify his/her individual strength and weakness of their performance through an evaluation process at the end of internship.
CTV 7340 Motion Graphics Number of units : 3 units (3,3,0) Prerequisite : CTV 7030 2-D Computer Graphics Workshop Level : Year 2 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives This course will explore the design requirements for professional quality broadcast graphics and title design for feature films and multimedia projects. Using combinations of still images, graphics, video footage and audio sound track, we will examine the relationships of motion, pacing, textures, transparency, transitions, design and composition in space and time. Emphasis will be placed on editing techniques, art direction, aesthetics and the overall style of professional motion graphic productions. Asset management, aspect ratios, resolutions, interpolation algorithms, color depth and image stabilization techniques are also addressed. Students will learn to work with lighting, grain matching, perspective control and camera moves to create the final composite. The Adobe Photoshop, Adobe Illustrator and Adobe After Effects software packages will be used to illustrate the principles and techniques and to produce the projects. The course is organized to maximize hands-on experience and will include in-class critiques, exercises, and work sessions. The critiques will be run as seminar-style discussions, with everyone participating in the critiques and discussions of each student's work. Because of the way the classes are run, attendance at and active participation in the weekly classes is considered very important and is considered in grade calculations.
Learning Outcomes Successful students will typically be able to: 1. Have a knowledge and understanding of leading-edge computer graphics as applied to the motion graphics medium. 2. Have a knowledge and understanding of the technology behind the latest generation of motion graphics. 3. Have thorough command of the practice of research, and the ability use and adapt information to specific projects. 4. Have a broad knowledge of the practice, theory and history of the topic. 5. Articulate a personal aesthetic. 6. Develop a storyboard (drawings, plans, schematics) to assist in creating a motion graphics work. 7. Participate in and productively respond to critique of work. 8. Contribute to a team, as well as assume leadership responsibilities
9. Demonstrate a competency for formal art and design elements, composition, and craftsmanship through the handling of various programs. 10. Employ strong oral and visual communication skills. 11. Demonstrate a strong and consistent work ethic. 12. Articulate and contribute their learning process in future endeavors.
Contents 1 Overview 1.1 Nature of the medium 1.2 Fundamental concepts 1.3 History and background of motion graphics 1.4 Key issues 1.5 Anatomy of the programs 1.6 Mastering motion design and compositing tools 1.7 Digital aesthetics 1.8 Understanding broadcast design 1.9 Explores career opportunities 2. Design issues 2.1 Resource and research 2.2 Planning a project 2.3 Creating storyboard 2.4 Design elements 2.5 Typography 2.6 Form and content 2.7 Color scheme 2.8 Hierarchies 2.9 Troubleshooting and problem solving skills 3. Technical issues 3.1 Organizing files 3.2 The use of expression 3.3 Parenting 3.4 3-D controls 3.5 Lighting 3.6 Local and global touch tools 3.7 Advanced masks and channels techniques 3.8 Color correction 3.9 Matting and Tracking 3.10 Plugin effects 3.11 Inter-program file exchange 3.12 Compression and decompression 3.13 Aspect ratios 3.14 Compiling and outputting the movie 4. Aesthetic Issues 4.1 Development of idea and concepts 4.2 Flow and transitions 4.3 Typography and design 4.4 Style and originality 4.5 Visual Consistency 4.6 Combining digital and traditional techniques 4.7 Critical evaluation
Mode of Tuition Lectures, tutorial, critical appreciations, and workshop
Assessment Participation: 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Assignments 40% (Two 10 second assignments: type effects and a flying logo) Final Project 40% (A fifteen second personal project)
References Splater, A. M. (2nd ed) (1999). The Computer in the Visual Arts. California: Addison Wesley Lovejoy, M. (1997). Postmodern Currents: Art and Artists in the Age of Electronic Media. New Jersey: Prentice Hall Kewlow, I.V. (2nd ed) (1996). Computer Graphics for Designers and artists. New York: Van Nostrand Reinhold Foley, J. Dam, A. Feiner, S. and Hughes, J. (ED 2nd ed) (1996). Computer Graphics, Principles and Practice. California: Addison Wesley Meyer, T. and Meyer, C. (ED) (2000). Creating Motion Graphics with After Effects. California: CMP Books Meyer, T. and Meyer, C. (ED) (2003). Creating Motion Graphics with After Effects - Volume 2: Advanced Techniques. California: CMP Books Weinmann, E. (2002). Illustrator 10 for Windows and Macintosh: Visual QuickStart Guide. California: Peachpit Press Adobe Creative Team. (ED) (2002). Adobe Photoshop 7.0: Classroom in a Book. California: Adobe Press
CTV 7350 Computer Game Design Number of units : 3 units (3,3,0) Prerequisite : CTV 7030 2-D Computer Graphics Workshop Level : Year 2 Duration : 45 hours Planner : Mr. MAN Chi Wah
Objectives
Computer games are a growing aspect of our digital culture. They contain a great deal of sophisticated programming, including 2D or 3D digital graphics, real-time algorithms, AI, and many other techniques. When we look at and analysis a computer game, we can separate its contents into components which are visible to us, and those which must exist but are invisible to us. This course is designed to explore the history, concepts, issues and techniques of computer game design. General topics to be explored include the history of computer games, character development, goal and topic, gender and violence in computer games. Students will analyze the game design process, develop their own ideas and construct their own final projects, which incorporates the principles and the techniques explored during the semester.
Learning Outcomes Successful students will typically be able to: 1. Have broad knowledge of the practice, theory and history of computer game design. 2. Explain the impact of digital entertainment on society. 3. Have thorough command of the Fundamental elements of game design. 4. Research, analyze and synthesize complex information in the development of innovative concepts for clients and audiences. 5. Have a knowledge and understanding of the technology behind the topic. 6. Demonstrate a competency for formal design elements, composition, and craftsmanship through the handling of various media and materials. 7. Appraise products or systems and justify modifications to design or production process. 8. Use appropriate technical vocabulary and information technology tools to communicate solutions. 9. Analyse the effectiveness of media elements used in a game. 10. Employ strong oral and visual communication skills. 11. Participate in and productively respond to critique of work. 12. Articulate and contribute their learning process in future endeavors.
Contents 1. Context 1.1 Nature of the medium 1.2 History and development of computer game design 1.3 Key issues: gender and violence 1.4 Game format 1.5 Purpose of computer games in society 1.6 Role of human imagination and fantasy 1.7 Game theory 1.8 Game aesthetic 1.9 Game music 1.10 Outline of the software and hardware development 2. Design 2.1 Goal and topic 2.2 Define your audience 2.3 Issues within the games industry 2.4 Real world approaches 2.5 Project management approaches 2.6 Fundamental elements 2.7 Representation, playability, conflict and safety 2.8 Story vs game 2.9 Function of graphics in a game 2.10 Manual and game package 2.11 Storyboard and flow chart 2.12 Issues of feedback, freedom, flow, and fidelity 2.13 Interface theory and practice 2.14 Menus 2.15 Explore design styles 2.16 Levels design 2.17 Human - computer interaction 2.18 Game aesthetics 3. Technical 3.1 Scripting languages 3.2 Multimedia programming and lingo 3.3 Interface Programming - joystick, mouse, keyboard 3.4 Multiplayer programming - Networks 3.5 Shockwave and the web 3.6 Operating systems 3.7 File systems 3.8 Simulation engines 3.9 Direct X and OpenGL 3.10 Multi-media design systems 3.11 Artificial intelligence 3.12 Real-time processing 3.13 Interface sensors and external devices
Mode of Tuition Lectures, tutorial, critical appreciations, and workshop
Assessment Participation 20% (The course is organized to maximize hands-on experience and will include numerous in-class exercises. Because of this, attendance at and participation in the weekly classes is considered extremely important and is considered in grading calculations) Journals 40% (2 studies on selected computer games) Final Project 40% (Students will develop their own ideas and construct their own final projects, which incorporates the principles and the techniques explored during the semester)
References Levy, S. (1984). Hackers: Heroes of the Compute Revolution. NY: Anchor Press / Doubleday Wolf. (2001). The Medium of the Video Games. Scheff, D. (1993). Game Over. Rollings, A. and Morris, D. (2000). Game Architecture and Design. Goriolis Group Larame, F. (ED) (2002). Game Design Perspective. Charles River Media Rollings, A. and Adams, E. (2003). on Game Design. New Riders Rosenzweig, G. (2000). Advanced Lingo for Games. Hayden Books
CTV 7360 Idea, Story, Script Number of units : 3 Units (3,3,0) Prerequisite : Nil Level : Year 1 Duration : 45 hours
Objectives The subject juxtaposes the creative process of script writing with the discussions of the film texts of significant films from various genres and cultures. The creative process from idea generation to script writing will be introduced. The students will discuss how the film expresses issues concerning humanity with its story, plot, characters, and audio-visual elements. The fundamentals of filmic narrative and elements of drama will be thoroughly reviewed.
Learning Outcomes Upon completion of the subject, students are able to articulate verbally the relationship between a films story-construction to the film makers idea. The students will also be able to conduct original research, and, on the base of which, to construct a basic story and express ideas in a script with the proper structure
Contents 1. The Creative Process 1.1 Idea making 1.2 Storytelling 1.3 Dramatic structure 1.4 Scene design 1.5 Script writing 2 Elements of Drama 2.1 Plot 2.2 Character 2.3 Theme 2.4 Dialogue 2.5 Music and Rhythm 2.6 Spectacle 3. Film Review
3.1 Angels from the Street (1937, China) 3.2 Rashomon (1950, Japan); Ikiru (1952, Japan) 3.3 Hiroshima mon amour (1959, France) 3.4 The Battle of Algiers (1966, Italy) 3.5 Woody Allen films 3.6 New Hollywood films 3.7 Love Story 3.8 Ah Ying (1982, Hong Kong); Inferno Affair (2002, Hong Kong) 3.9 Crouching Tiger, Hidden Dragon (2000, Hong Kong, Taiwan) 3.10 Experimental Works 4. Script Critique 4.1 The dramatic logic 4.2 Characterization 4.3 The idea and its form of expression 4.4 The style 4.5 Originality 4.6 The overall achievement
Mode of Tuition Lectures, seminar, discussions
Assessment Assignment (2 film analyses, 2000 words each) 20% Presentation (creative idea, 3000 words) 20% Term Project (creative project out of original research in script writing) (Project-portfolio with idea, story, character treatment, and script) 60%
References Aristotle. Poetics. Axelrod, Mark. (2001). Aspects of the Screenplay: Techniques of Screenwriting. Portsmouth, NH: Heinemann. Berman, Robert A. (1988). Fade In: The Screenwriting Process: A Concise Metho For Developing A Story Concept Into A Finished Screenplay. California: Michael Wiese Film Productions. Bolker, Joan. (1997). The Writers Home Companion: An Anthology of the Worlds Best Writing Advice, from Keats to Kunitz. New York: Henry Holt and Company. Chatman Seymour (1978). Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, NY: Cornell University. Dawson, Jonathan. (2000). Screenwriting: A Manual. South Melbourne: Oxford University Press. Days, Ronald D. (1993). Screen Writing For Television and Film. Madison, Wisconsin: Brown & Benchmark Publishers. Egri, Lajos. (1960). The Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. New York: Simon and Schuster. Engel, Joel ed. (1995). Screen Writers On Screen Writing. New York: Hyperion. Lee, Lance. (2000). A Poetics for Screenwriters. Austin: University of Texas. McKee, Robert. (1997). Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: Regan Books.