Embark on a literary odyssey with this comprehensive PowerPoint presentation tailored for Graduation students. Uncover the nuances of literature, exploring diverse genres, critical theories, and iconic literary movements. From classic works to contemporary masterpieces, this presentation navigates through the realms of poetry, prose, and drama. Engage in thought-provoking discussions about literary analysis, cultural contexts, and the impact of literature on society. Whether you're a seasoned literature enthusiast or a newcomer to the world of letters, this presentation promises to deepen your appreciation for the written word and enhance your literary journey through the academic landscape.

2. GROUP MEMBERS
•AYESHA QAYYUM GILANI
•ABID ALI
•IQRA SHAHEEN
•MAHNOOR BASEER
•ANNOSH ABBASI
•AFSHAN KAUSAR
SECTION: 3A (EVENING)

3. INTRODUCTION OF FILM
• FILM IS A SEMI-TEXTUAL GENRE FROM THE 21ST C INFLUENCED BY THE EXERTING INFLUENCE ON LITERATURE AND
LITERARY CRITICISM. LITERARY TECHNIQUES STRONGLY INFLUENCE FILM AND ITS PRACTICE HAS DEVELOPED
UNIQUE FEATURES IN IT. THE STUDY OF FILM PARTICULARLY STARTED IN THE ANGLO-AMERICAN WORLD.
• FILM EMPLOYS IDIOSYNCRATIC MODES OF PRESENTATION SUCH AS CAMERA ANGLES, EDITING, MONTAGE, SLOW
AND FAST MOTION. DRAMA AND FILM ARE CATEGORIZED AS PERFORMING ARTS, UTILIZING ACTORS FOR
EXPRESSION.
• FILM ENCOMPASSES DIVERSE CINEMATIC GENRES AND FORMS, MAKING IT MORE THAN JUST A BY-PRODUCT OF
DRAMA. FILM HAS ITS VISUAL POWER; IT ALSO SHARES SIMILARITIES WITH THE NOVEL IN TERMS OF NARRATIVE
TECHNIQUES.
• FILM OFTEN INCORPORATES NOVEL-LIKE NARRATIVE TECHNIQUES, INCLUDING EXPERIMENTAL PLOT
STRUCTURING, FORESHADOWING, FLASHBACK, AND CHANGES IN SETTING AND TIME STRUCTURE. THE MOST
OBVIOUS DIFFERENCE BETWEEN FILM AND DRAMA IS THAT A FILM IS RECORDED AND PRESERVED, WHILE A
THEATER PERFORMANCE IS UNIQUE AND UNREPEATABLE.
• SOUND WAS INTRODUCED TO FILM IN THE MID-1920S, LEADING TO THE TEMPORARY ABANDONMENT OF SOME
PROGRESSIVE VISUAL TECHNIQUES OF THE SILENT ERA IN FAVOR OF SOUND AND RECORDED MUSIC.

4. HISTORICAL EVOLUTION
• BY THE 1930S, HOLLYWOOD HAD DEVELOPED VARIOUS GENRES, INCLUDING WESTERNS, MUSICALS,
GANGSTER AND ADVENTURE MOVIES, SCIENCE FICTION, HORROR FILMS, AND OPULENT COSTUME
EPICS.
• AFTER WORLD WAR II, FILM NOIR EMERGED AS A GENRE DEALING WITH CORRUPTION IN THE
DISILLUSIONED AMERICAN METROPOLIS. EUROPEAN PRODUCTIONS, PARTICULARLY ITALIAN
NEOREALIST FILMS BY DIRECTORS LIKE ROBERTO ROSSELLINI AND VITTORIO DE SICA, GAINED
INTERNATIONAL RECOGNITION. FRENCH DIRECTORS LIKE JEAN-LUC GODARD AND FRANÇOIS
TRUFFAUT ALSO GAINED INTERNATIONAL FAME FOR THEIR INNOVATIONS IN FILM DURING THE
EARLY 1960S. THE NEW GERMAN CINEMA, FEATURING DIRECTORS LIKE RAINER WERNER
FASSBINDER, WERNER HERZOG, AND WIM WENDERS, RESTORED INTERNATIONAL PROMINENCE TO
GERMAN FILM. ETHNIC VOICES, INCLUDING AFRICAN AMERICAN, ASIAN AMERICAN, AND MEXICAN
AMERICAN DIRECTORS, ESTABLISHED THEMSELVES IN FILM IN THE LATTER PART OF THE TWENTIETH
CENTURY.
• FILM, AS AN ARTISTIC MEDIUM, RELIES ON TECHNICAL ASPECTS AND HAS ITS UNIQUE CINEMATIC
FEATURES, INCLUDING ELEMENTS RELATED TO SPACE, TIME, AND SOUND.

5. SPATIAL DIMENSION
THE DELIBERATE CHOICE OF FILM STOCK INCLUDING BLACK, WHITE OR CLOUR ,HIGH
CONTRAST, LOW CONTRAST ,SENSITIVE OR LESS SENSITIVE MATERIAL,PRODUCES
EFFECTS WHICH DIRECTLY INFLUENCE THE CONTENTS OF A FILM
THE SPATIAL DIMENSION ENCOMPASSED THE USE OF COMPOSITION,CAMERA TECHNIQUES
LIGHTNING AND STAGING TO CREATE A SENSE OF DEPTH AND THREE DIMENSIONAL
SCREEN.
THERE ARE SOME ELEMENTS OF SPATIAL DIMENSION. WHICH ARE GIVEN BELOW:

6. FILM STOCK:
FILM STOCK IS AN ANALOG MEDIUM THAT IS USED FOR RECORDING MOTION PICTURES OR ANIMATION. IT RECORDED ON BY A
MOVIE CAMERA ,DEVELOPED ,EDITED AND PROJECTED ON TO A SCREEN USING A MOVIE PROJECTOR.IT IS A STRIP SHEET OF
TRANSPARENT MATERIAL.
FILM STOCK IS LIKE THE BLANK CANVAS FOR MOVIES .IT’S THE MATERIAL ON WHICH IMAGES AND SCENES ARE CAPTURED
WHEN MAKING TRADITIONAL FILMS .THINK OF IT’S A DIGITAL CAMERA
LIGHTNING: LIGHTNING FOCUS TO CREATE IN SPECIFIC MOOD, ATMOSPHERE OR AESTHETIC IN A SCENE. IT PLAYS AA CRUCIAL
RULE TO CONVEY EMOTIONS,FOCOUS THE VISUAL OF STORY TELLING.
CAMERAANGLE;
THE CAMERA ANGLE MARKS THE SPECIFIC LOCATION
AT WHICH THE MOVIE CAMERA OR VIDEO CAMERA IS PLACED TO TAKE AA SHOT. A SCENE MAY BE SHORT BY SERVEL CAMERA
ANGLE.SIMULATENOUSLY THIS WILL GIVE A DIFFERENT EXPERIENCE AND SOMETIMES EMOTION.
THE DIFFERENT CAMERA ANGLES WILL HAVE DIFFERENT EFFECTS ON THE VIEWER AND THEY PERCEIVE THE SCENE THAT IS
SHOT. CAMERA MOVEMENT: CAMERA MOVEMENT REFERS THE PHYSICAL AND MECHANICAL ADJUSTMENTS OF THE
CAMERA POSITION AND ANGLE DURING THE FILMING OF A SCENE . CAMERA MOVEMENT IS A FILM MAKING TECHNIQUE
THAT DESCRIBES.HOW A CAMERA MOVES ABOUT TO HELP ENHANCE A STORY SPECIFIC CAMERA MOVEMENTS HELP
CHANGE THE AUDIENCE VIEW WITHOUT CUTTING. THIS IS A GREAT WAY TO MAKE YOU VIDEO MORE IMPRESSIVE AND
ENGAGING

7. POINT OF VIEW:
POINT OF VIEW GENERALLY REFERS TO A SHOT THAT DIRECTLY REPRESENTS CHARACTER VIEW POINT
 EDITING: FILM EDITING IS BOTH A CREATIVE AND TECHNICAL PART OF THE POSTPRODUCTION PROCESS
OF FILM MAKING. WHEN PUTTING TO FEATHER SOME SORT OF VIDEO COMPOSITION, TYPICALLY YOU WOULD
NEED A COLLECTION OF SHOTS AND FOOTAGES THAT VARY FROM ONE ANOTHER. THE ACT OF ADJUSTING THE
SHOTS YOU HAVE ALREADY TAKEN AND TURNING THEM INTO SOMETHING NEW IS KNOWN AS FILM EDITION.
 MONTAGE: A MONTAGE IS A SERIES OF SEPARATE IMAGES, MOVING OR STILL ,THAT ARE EDITED TOGETHER
TO CREATE A CONTINUOUS SEQUENCE
MONTAGE MEANS ASSEMBLY OR EDITING

8. TEMPORAL DIMENSION
THE TEMPORAL DIMENSION OF A FILM REFERS TO THE ASPECT OF TIME AND THE WAY IT
IS PORTRAYED AND MANIPULATED IN THE MEDIUM OF CINEMA.
TIME IS A FUNDAMENTAL ELEMENT IN FILMMAKING, AND IT IS USED CREATIVELY BY
FILMMAKERS TO TELL STORIES, CONVEY EMOTIONS, AND ENGAGE THE AUDIENCE.
THERE ARE FIVE KEY ASPECTS OF THE TEMPORAL DIMENSION OF FILM:
SLOW AND FAST MOTION
PLOT TIME
FLASH BACK
LENGTH OF FILM
FORESHADOWING

9. SLOW AND FAST MOTION
• SLOW MOTION, OFTEN ABBREVIATED AS "SLO-MO," IS
A TECHNIQUE WHERE ACTION IS RECORDED AT A
HIGHER FRAME RATE THAN THE STANDARD FRAME
RATE AND THEN PLAYED BACK AT THE STANDARD
FRAME RATE DURING EDITING AND PLAYBACK. THIS
RESULTS IN THE ACTION APPEARING TO MOVE MORE
SLOWLY AND FLUIDLY.
• SLOW MOTION IS OFTEN USED TO EMPHASIZE
SPECIFIC MOMENTS, HIGHLIGHT THE BEAUTY OF
MOTION, AND CONVEY A SENSE OF DRAMA OR EPIC
SCALE.
• IT CAN BE USED TO CREATE DREAMLIKE SEQUENCES,
AS WELL AS TO ENHANCE THE EMOTIONAL IMPACT OF
A SCENE, SUCH AS IN A ROMANTIC OR DRAMATIC
CONTEXT.
• FAST MOTION IS THE OPPOSITE TECHNIQUE,
WHERE ACTION IS RECORDED AT A LOWER FRAME
RATE THAN THE STANDARD FRAME RATE AND
THEN PLAYED BACK AT THE STANDARD FRAME
RATE DURING EDITING AND PLAYBACK. THIS
MAKES THE ACTION APPEAR TO MOVE AT AN
ACCELERATED PACE.
• FILMMAKERS USE FAST MOTION FOR TIME
COMPRESSION, AND TO CREATE A SENSE OF
URGENCY OR CHAOS. IT'S OFTEN EMPLOYED FOR
COMEDIC EFFECT WHEN CHARACTERS OR
OBJECTS MOVE UNNATURALLY QUICKLY.
• IT CAN ALSO BE USED TO SHOW THE PASSAGE OF
TIME IN A MORE CONCISE MANNER.

10. PLOT TIME AND FLASHBACK
• PLOTTIME REFERS TO THE REPRESENTATION
AND MANIPULATION OF TIME WITHIN THE
NARRATIVE STRUCTURE OF A FILM. IT
INVOLVES HOW THE CHRONOLOGICAL
SEQUENCE OF EVENTS IS PORTRAYED ON THE
SCREEN AND HOW FILMMAKERS USE VARIOUS
TECHNIQUES TO CONTROL THE FLOW OF TIME
WITHIN THE STORY.
• A FLASHBACK IS A TECHNIQUE IN THE
TEMPORAL DIMENSION OF FILM WHERE A
SCENE DEPICTS EVENTS THAT OCCURRED IN
THE PAST. FLASHBACKS INTERRUPT THE
LINEAR PROGRESSION OF THE MAIN
NARRATIVE AND TAKE THE AUDIENCE BACK IN
TIME TO PROVIDE CONTEXT, BACKGROUND
INFORMATION, CHARACTER DEVELOPMENT, OR
TO REVEAL IMPORTANT DETAILS.

11. LENGTH OF FILM AND FORESHADOWING
• THE LENGTH OF A FILM REFERS TO THE
DURATION OF TIME IT TAKES FOR THE
ENTIRE FILM TO UNFOLD FROM THE
BEGINNING TO THE END. THIS IS OFTEN
REFERRED TO AS THE "RUNNING TIME"
OF THE FILM, AND IT IS MEASURED IN
MINUTES OR HOURS. THE LENGTH OF A
FILM CAN VARY SIGNIFICANTLY FROM
ONE FILM TO ANOTHER AND IS A
CRITICAL ASPECT OF THE FILM'S
PRESENTATION.
• FORESHADOWING IS A STORYTELLING
TECHNIQUE USED BY FILMMAKERS TO
PROVIDE HINTS OR CLUES ABOUT FUTURE
EVENTS IN THE NARRATIVE. IT INVOLVES THE
DETAILS, OR HINTS EARLY IN THE FILM THAT
SUGGEST OR ANTICIPATE DEVELOPMENTS
THAT WILL OCCUR LATER.
• FORESHADOWING CAN CREATE A SENSE OF
ANTICIPATION, TENSION, OR SUSPENSE AND
ENGAGE THE AUDIENCE BY ENCOURAGING
THEM TO MAKE CONNECTIONS BETWEEN
DIFFERENT PARTS OF THE STORY.

12. ACOUSTIC DIMENSION
SOUNDTRACK COMPOSITION:
FILM SOUNDTRACKS INCLUDE MUSIC, DIALOGUE, AND SOUND EFFECTS. COMPOSERS AND
SOUND DESIGNERS CREATE AURAL ELEMENTS TO ENHANCE THE STORYTELLING.
DIALOGUE:
CLEAR DIALOGUE IS CRUCIAL FOR AUDIENCE UNDERSTANDING.
ADR (AUTOMATED DIALOGUE REPLACEMENT) IS USED FOR POST-PRODUCTION DIALOGUE
RECORDING.
SOUND EFFECTS:
ENHANCE REALISM AND ATMOSPHERE.
FOLEY ARTISTS CREATE CUSTOM SOUNDS FOR ACTIONS LIKE FOOTSTEPS AND DOORS.

13. MUSIC:
FILM SCORES EVOKE EMOTIONS AND SET THE MOOD.
COMPOSERS COLLABORATE WITH DIRECTORS TO CRAFT THE PERFECT MUSICAL BACKDROP.
SURROUND SOUND:
MODERN FILMS USE MULTI-CHANNELAUDIO SYSTEMS.
CREATES IMMERSIVE EXPERIENCES, SUCH AS 5.1 OR 7.1 SURROUND SOUND.
MIXING AND POST-PRODUCTION:
SOUND EDITING AND MIXING ARE ESSENTIAL IN THE FINAL STAGES. BALANCING, EQ, AND
SPATIAL POSITIONING ARE ADJUSTED FOR OPTIMAL IMPACT.
SOUNDTRACKS LIVE ON:
ICONIC FILM MUSIC CAN BECOME TIMELESS, RECOGNIZED BEYOND THE SCREEN.
THESE KEY POINTS PROVIDE AN OVERVIEW OF THE ACOUSTIC DIMENSIONS THAT SHAPE THE
CINEMATIC EXPERIENCE.