Course: MAC 318 Video, Film Theory and Aesthetics. (2 Credits. Elective)
Course Duration: Two hours per week for 15 weeks (30 hours) as taught in the 2011/2012 session.
Lecturer: Abdulrauf , A. A.
B.Sc. Mass Communication. (Zaria);
Graduate Member, Nigerian Institute of Management (GMNIM),
Department of Mass Communication,
Faculty of Communication and Information Sciences,
University of Ilorin,
Ilorin, Nigeria.
E-mail: ajokeaisha@yahoo.com
abdulrauf.aa@unilorin.edu.ng
Office Location: First Floor, Room 3, Educational Technology Center, University of Ilorin,
Nigeria.
Consultation Hours: 11.00am – 1.00pm (Tuesdays and Thursdays).
Course Content
Prerequisite ; introduction to film, cinema and literature and film production. Exploration of film as extension of photography. Systematic consideration of the basic aesthetic principle, photographic approach, affinities and art. Analysis of the properties of the film medium with regard to the realistic tendency and formative tendency, or realism (as exemplified by the
Lumiers brothers) and expressionism (as exemplified by Melie), and the clashes/compromises between both. Film/cinema as an art.
Course Description
This course examines film and video and conceptualizes each of them. It also explores the aesthetic characteristics of film and how it is achieved with sound and video. Furthermore film theory is examined in details from historical and modern perspective. There will also be an indepth analysis of film properties and tendencies.
Course Justification
Film has the most universal appeal of all the mass media. It is perhaps the most powerful media which can and has been used as a tool to promote positive social transformation and to consolidate and build new relationships between cultures and national development. Thus, understanding the decisions involved in making a good film is of paramount importance. In addition, this course will go a long way in sharpening the creative skill or students when it comes to film aesthetics.
Course Objectives

The primary objective of this course is to equip students with the necessary knowledge needed for proper film criticism and analysis. Thus, by the end of this course the students should be able to:
- Discuss film theory;
- Differentiate between the different types of camera shots, proxemics, movements and angle;
- Explain the principles of film aesthetics;
- Identify the realistic and formative film tendencies;
- Analyze film editing and
- Discuss film in the digital age.
Course Requirements
Participants in the course are required to:
•
Attend at least 75% of classes in the course punctually;
•
Participate in all course activities regularly;
•
Watched a significant amount of film for educational purpose;
•
Have a yahoo e-mail account, join and participate in an on-line discussion group dedicated to the course and
•
Word process all assignments.
Methods of Grading
Performance in the course will be graded using the guidelines in the table below.
Criterion Percentage
Score of Total
Assignment
Marks
10
Participation in on-line discussion
Test
05
15
Final Examination
Total
70
100
Course Delivery Strategies
The face-to-face method of lecture delivery strategy is adopted for the course. There will also be an on-line discussion forum for students’ participation.
Lecture Contents
Week 1: An Overview of the Course/ Conceptualization
Objectives
The lecture will introduce the course and define various key terms in the course as well as differentiate between film and video.
Description
First Hour
Overview of the course.

Second Hour
Conceptualization.
Study Questions
1.
Define Film?
2.
What is video?
3.
Differentiate between film and video?
4.
Define the terms ‘film’ and ‘video’?
5.
List the similarities in question ‘3’ above.
Reading List
1.
Baran 4 , S.J. (2010). Introduction to Mass Communication. Media Literacy and Culture .
(6 th
ed ). New York, United States of America, pp 142-170.
ISBN 978-0-07-016913-5.
2.
Dominick 4 , J.R. (2009). The Dynamics of Mass Communication. Media in the Digital
Age (10 th
ed). New York, United States of America: McGraw Hill
International, pp 198-224 ISBN 978-0-07-128787-6.
3.
Film
3
, www.wikipedia.com/film
4.
Mamer
4
, B. (2009). Film Production Technique. Creating the Accomplished Image
(5 th
ed). Belmont , United States of America: Wardsworth Cengage Learning,
pp 2-345. ISBN 13:978-0-495-41116-1/10:0-495-41116-7.
5.
Onabajo 2 , O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance
Incorporated. ISBN:978-0-9801626-3-9.
6.
Rodman
4
, G. (2010). Mass Media in a Changing World.
(3 rd
ed). New York, United
States of America: McGraw Hill International, pp 151-178.
ISBN:978-0-07-017273-9.
7.
Video
3
, www.wikipedia.com/video.
Week 2: The Camera
Objectives
The lecture will explain camera shots, movements, lens and its focus as well as their effects on a picture.
Description
First Hour
The language of the camera.
Second Hour
The shots.
Study Questions
1.
Write short notes on the following: i.
Frame;

ii.
Composition ; iii.
Shot ; iv.
Set up and v.
Shooting for the edit.
2.
Define the term ‘proxemics’.
3.
Differentiate between Long Shot, Medium Shot and Close Up.
4.
List 6 types of camera angles.
5.
Differentiate between panning and tilting.
6.
List and explain the three types of specialized rigs you know
7.
Enumerate the 3 basic approaches to using focus as an aesthetic expression.
8.
What are the five types of lens you know?
9.
Describe the effect each type of lens has on a picture.
10.
What is a tripod?
Reading List
1.
Camera angles and movement 3 , www.inpoint.com.
2.
Mamer
4
, B. (2009). Film Production Technique. Creating the Accomplished Image
(5 th
ed). Belmont, United States of America: Wardsworth Cengage Learning,
pp 2- 26, 118-121. ISBN 13:978-0-495-41116-1/10:0-495-41116-7.
3.
Zettel
4
, H. (2006). Television Production Handbook (9 th
ed) . Belmont, United States of
America: Thompson Wardsworth, pp 88-90. ISBN 0-534-64727-8.
Week 3: Properties of Film
Objectives
The lecture will explore the basic and technical properties of film and explain their differences.
Description
First Hour
Basic property of film.
Second Hour
Technical property of film.
Study Questions
1.
Why do the basic properties take precedence over the technical properties?
2.
State the technical properties of film.
3.
Enumerate the film properties you know.
4.
Film is an extension of photography. Discuss.
5.
What are the basic properties of film?
Reading List
1.
Onabajo 2 , O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance
Incorporated. ISBN:978-0-9801626-3-9.

Week 4: Film and Reality.
Objectives
The lecture aims to establish the various arguments as to whether film represents reality or not as well as identify the views of both realist and anti-realist scholars.
Description
First Hour
Realism.
Second Hour
Anti-realism.
Study Questions
1.
Define realism in the context of film.
2.
Name two anti-realist film scholars you know.
3.
What are the basic tenets of anti-realism.
4.
Differentiate between realism and anti-realism.
5.
List two realist scholars of film you know.
Reading List
1.
Onabajo
2 ,O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance Incorporated.
ISBN:978-0-9801626-3-9.
Week 5: Mise en Scène.
Objectives
The lecture will explore the various classification of Mise en scène and explain the important role they play in film aesthetics.
Description
First Hour
The concept of mise en scène.
Second Hour
Components of mise en scène.
Study Questions
1.
What do you understand by the term
Mise en scène
?
2.
List and explain the three point lighting in film production?
3.
Define the term shadow in the context of film?
4.
What are the two types of spaces we have in a film setting?
5.
Discuss the details the four major components of Mise en scène.
6.
Why is performance a very important part of action?
Reading List

1.
Mise en scene
3
, www.wikipedia.org/mise en scene.
Weeks 6: Realistic and Formative Tendencies of Film.
Objectives
The lecture will explain the realistic and formative tendencies of film with particular reference to absolute, surrealistic and didactic films.
Description
First Hour
Realistic tendencies of film.
Second Hour
Formative tendencies of film.
Study Questions
1.
Define Avant gardism?
2.
What are the three groups of Avant gardism?
3.
Briefly explain the formative tendencies of film.
4.
Citing relevant example explain didactic films.
5.
Enumerate the realistic tendencies of film.
Reading list
1.
Onabajo
2 ,O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance Incorporated.
ISBN:978-0-9801626-3-9.
Week 7: Test and Assignment
Objectives
To conduct a one- hour continuous assessment test based on what was taught from week 1 to 6 as well as give an assignment to be submitted in two weeks.
Description
First Hour
Assessment Test.
Second Hour
Assignment.
Study Questions
As listed in week 1 to 6
Reading List

1.
Baran
4
, S.J. (2010). Introduction to Mass Communication. Media Literacy and Culture .
(6 th
ed ). New York, United States of America, pp 142-170.
ISBN 978-0-07-016913-5.
2.
Dominick
4
, J.R. (2009). The Dynamics of Mass Communication. Media in the Digital
Age (10 th
ed). New York, United States of America: McGraw Hill
International, pp 198-224 ISBN 978-0-07-128787-6.
3.
Film
3
, www.wikipedia.com/film
4.
Mamer
4
, B. (2009). Film Production Technique. Creating the Accomplished Image
(5 th
ed). Belmont , United States of America: Wardsworth Cengage Learning,
pp 2-345. ISBN 13:978-0-495-41116-1/10:0-495-41116-7.
5.
Mise en scene
3
, www.wikipedia.org/mise en scene.
6.
Onabajo
2 ,O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance
Incorporated. ISBN:978-0-9801626-3-9.
7.
Rodman
4
, G. (2010). Mass Media in a Changing World.
(3 rd
ed). New York, United
States of America: McGraw Hill International, pp 151-178.
ISBN:978-0-07-017273-9.
8.
Video
3
, www.wikipedia.com/video.
Week 8: Film Theory.
Objectives
The lecture aims to expose students to various historical and modern theoretical perspectives of film.
Description
First Hour
Film theory.
Second Hour
Film theory (Cont’d).
Study Questions
1.
List and explain any four film theories you know.
2.
What was the basic ideas of Vachel Lindsay book on film theory ‘The Art of the Moving
Picture’?
3.
Write detailed notes on the following: i.Formalist and anti-formalist film theorists. ii. Realist and anti-realist theorist. iii. Prescriptive and descriptive theory. iv. Neo-realist film theorists.
4.
Explain the contribution of each of the following to the development of film theory in the world: i. Mertz; ii. Bazin;

iii. Godard; iv. Munsterberg; v. Bela balaz; vi. Kraceur and vii. Pudovkin.
5.
Explain this statement in your own words. ‘Film is a language yet not like any other language’.
6.
‘Montage is above all an integral part of Mise en Scene. Only at peril can one be separated from the other’. i.
Who is credited with making this statement? ii.
Why is it regarded as one of the most important steps in film theory?
7.
Differentiate between expressionism and formalism.
Reading List
1.
Film theory
3
, www.wikipedia.org/film theory.
Week 9 & 10: Film Editing.
Objectives
The lecture will explain the concept of editing on film and on video, their difference as well as why editing is important for film aesthetics.
Description
First Hour in week 9
Basic editing terms and transition devices.
Second Hour in week 9
Purposes of editing and structuring the edit.
First Hour in week 10
Editing on film.
Second Hour in week 10
Editing on video.
Study Questions
1.
‘Film editing could be a technique, an art, or a craft’. Discuss.
2.
Enumerate the three decision areas in cutting a film.
3.
List four film editing software.
4.
What is the marked different between linear and non-linear editing.
5.
What are the four basic editing functions
6.
Differentiate between editing on film and editing on video
7.
Explain the following: i.
Superimposition ii.
Optical effects iii.
Fade in and fade out

8.
What are the basic things you have to consider when structuring the edit?
9.
State the purposes of editing?
10.
What is dissolve in film editing?
Reading List
1.
Mamer 4 , B. (2009). Film Production Technique. Creating the Accomplished Image
(5 th
ed). Belmont , United States of America: Wardsworth Cengage Learning,
pp 346-364. ISBN 13:978-0-495-41116-1/10:0-495-41116-7.
2.
Zettel
4
, H. (2006). Television Production Handbook (9 th
ed) . Belmont, United States of
America: Thompson Wardsworth, pp 14-16, 346-364. ISBN 0-534-64727-8.
Week 11: Sound and Video Aesthetics.
Objectives
The lecture will explore the sound and video aesthetics it takes to produce a good film. Also it will show students how to exercise some aesthetic judgments.
Description
First Hour
Sound Aesthetics.
Second Hour
Video Aesthetics.
Study Questions
1.
How does the environment in which a film is shot affect its sound aesthetics?
2.
Name the five basic aesthetic factors to be considered when shooting a film.
3.
Why is sound continuity important in any film production?
4.
Define Aesthetics?
5.
Why is good aesthetics judgment important in the production of a film?
Reading List
1.
Zettel 4 , H. (2006). Television Production Handbook (9 th ed) . Belmont, United States of
America: Thompson Wardsworth, pp 235-240. ISBN 0-534-64727-8.
Week 12: Film in the Digital Age.
Objectives
The lecture will explain the technological changes that have taken place in film today; it will also compare them with the technologies used for film production in the past.
Description
First Hour
Film in the digital Age.
Second Hour

Film in the digital Age (Cont’d)
Study Questions
1.
How has digitization affected film production?
2.
What are the challenges film face from video in this digital age ?
3.
How has the New Information and Communication Technologies (NICTs) affected film?
4.
What is digitization?
5.
Explain the concept of digital age.
Reading List
1.
Bitner
4
, J.R. (1989). Mass Communication: An Introduction .(5 th
ed). New Jersey, United
States of America: Prentice- Hall International, pp 176-182. ISBN:0-13-559071X.
2.
Zettl
4
, H. (2006). Television Production Handbook.
(9 th
ed). Belmont, United States of
America: Thompson Wardsworth, pp 26-35.I SBN 0-534-64727-8.
Week 12: Video in the Digital Age.
Objectives
This lecture will explain the technological changes that have taken place with video in with digitization and also compare some of this changes with what was obtainable in the past.
Description
First Hour
Video in the digital Age.
Second Hour
Video in the digital Age (Cont’d).
Questions
1.
List 4 video storage devices in the digital age.
2.
What are the advantages of digitized video storage devices.
3.
How has digital video storage devices increase piracy in the film industry.
4.
List 3 old video storage devices used before the popularity of digitization.
5.
What is the marked difference between analogue and digital video?
Reading list
1.
Bitner 4 , J.R. (1989). Mass Communication: An Introduction (5 th ed). New Jersey, United
States of America: Prentice- Hall International, pp 176-182. ISBN:0-13-559071X.
2.
Zettl
4
, H. (2006). Television Production Handbook.
(9 th
ed). Belmont, United States of
America: Thompson Wardsworth, pp 26-35.I SBN 0-534-64727-8.
Week 14: Film: An art or Reality.
Objectives
To present various arguments as to whether film is a creation of art or just a portrayal of reality.

Description
First Hour
Film as art.
Second Hour
Film as reality.
Study Questions
1.
What is an art?
2.
Define reality?
3.
Argue for or against the assertion ‘film is neither art nor reality’.
4.
What are the characteristics of an art?
5.
Does film meet the characteristics of an art?
Reading List.
1.
Film
3
,www.wikipedia.org/film.
Week 15: Revision.
Objectives
This lecture will revise all what has been done from week 1 to 14.
Description
First Hour
Revision
Second Hour
Revision.
Revision Questions
1.
Siegfried Kracaur, a film scholar, is of the opinion that film mirrors the society which creates them hence, ‘Film is Reality’ while another film scholar, Rudolph Arnheim is opposed to this assertion. With cogent points and explanations, take a side with one of these scholars and give detailed reasons for your position.
2.
Define the term sound perspectives?
3.
Film is the only branch of mass communication with the most universal impact and appeal. Discuss.
4.
Avant- gardism is a movement that typifies the formative tendencies of modern day filmmaking. Citing relevant examples, discuss the different classifications of films under this movement.
5.
The importance of Mise en scène in qualitative film criticism and analysis cannot be overemphasized. Discuss.
6.
Differentiate between the following: i.
Academic and journalistic film criticism. ii.
Editing on film and editing on video.

iii.
Basic and technical property of film iv.
Contemporary and neorealist film theory.
7.
Define sound continuity
8.
With their basic principles, explain the contributions of the following to the development of film theory in the world: i.
Jean Luc- Godard ii.
Vachel Lindsay iii.
Sergei Eisenstein, iv.
Hugo Munsterberg
9.
Differentiate between film and video
10.
‘Films are nothing but moving pictures’. Discuss
11.
Write short notes on the following: i.
Deep focus; ii.
Shallow focus; iii.
Zoom lens; iv.
Normal lens; v.
Wide angle lens and vi.
Telephoto lens.
12.
List and explain the different types of camera movement
13.
List and explain the two types of common standard tripod legs you know.
14.
Differentiate between friction heads and fluid effect heads.
15.
Write short notes on the following : i.
Editing on film ii.
Editing on video
16.
Explain the following: i.
The basic rule ii.
Cutting on action iii.
The 30-degree rule iv.
Visual interest
Reading list
1.
Baran
4
, S.J. (2010). Introduction to Mass Communication. Media Literacy and Culture .
(6 th ed ). New York, United States of America, pp 142-170.
ISBN 978-0-07-016913-5.
2.
Bitner
4
, J.R. (1989). Mass Communication: An Introduction .(5 th
ed). New Jersey, United
States of America: Prentice- Hall International, pp 176-182. ISBN:0-13-559071X.
3.
Camera Angle and Movement
3
, www.inpoint.com.
4.
Dominick
4
, J.R. (2009). The Dynamics of Mass Communication. Media in the Digital
Age (10 th
ed). New York, United States of America: McGraw Hill International, pp 198-224 ISBN 978-0-07-128787-6.
5.
Film
3, www.wikipedia.com/film.
6.
Mamer
4
, B. (2009). Film Production Technique. Creating the Accomplished Image
(5 th ed). Belmont, United States of America: Wardsworth Cengage Learning,
pp 2-345. ISBN 13:978-0-495-41116-1/10:0-495-41116-7.

7.
Onabajo
2 ,O. & M’ Bayo, R. (2009).
Emergence, Growth and Challenges of Films and
Home Videos in Nigeria. United States of America. African Renaissance
Incorporated. ISBN:978-0-9801626-3-9.
8.
Rodman
4
, G. (2010). Mass Media in a Changing World.
(3 rd
ed). New York, United
States of America: McGraw Hill International, pp 151-178
ISBN:978-0-07-017273-9.
9.
Sambe
4
, J.A. (2005). Introduction to Mass Communication Practice in Nigeria . Ibadan,
Nigeria: Spectrum Books Limited. ISBN: 978-978-029-500-4.
10.
Video
3
, www.wikipedi.com/video
11.
Zettel
4
, H. (2006). Television Production Handbook (9 th
ed) . Belmont, United States of
America: Thompson Wardsworth, pp 14-16, 26-35, 88-90, 235-240, 246-264.
ISBN 0-534-64727-8.
Key
1-
Available in the University Library.
2-
Available in Local Bookshops.
3Available on the Web.
4-
Personal Collections.
5-
Departmental Library.