This document provides full subject syllabi for several postgraduate film, television, and computer graphics courses. The CTV 7010 syllabus outlines objectives for a film and video production course that will immerse students in all aspects of production through group projects. Students will learn directing, cinematography, lighting, audio recording, and basic post-production. The CTV 7020 syllabus describes a television studio production course that will enhance directing skills through hands-on experience producing multi-camera TV programs. The CTV 7030 syllabus covers 2D computer graphics workshops exploring concepts, issues, and techniques using software like Photoshop and Illustrator.

1. Full Subject Syllabi
CTV 7010 Postgraduate Film and Video Production I
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

2. 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 California
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 with

3. 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

4. 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.

5. 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.

6. 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

7. 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. 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 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

8. 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 .

9. 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

10. 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. 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

12. 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. 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

19. 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

20. 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-play…etc.
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

21. 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
Mode of Tuition
Lectures, demonstrations, workshop, presentation
Assessment
Participation 20%
Presentation 20%
Journal 20%
Project 40%
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.

22. 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"

23. 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 關漢卿，《救風塵》
3. Studies on Comic Film Makers
3.1 Chaplin
3.2 Fellini
3.3 許冠文
3.4 周星馳
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.

24. 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

25. 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.

26. 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

27. 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

28. 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

29. 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

30. 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

31. 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

32. 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)

33. 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 able 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

34. 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

35. 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

36. 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

37. 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)

38. 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.

39. 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

40. 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.

41. 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

42. 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

43. 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 cinema, 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

44. 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.

45. 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

46. 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

47. 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

48. 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

49. 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

50. 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
Mode of Tuition
Seminars, Screening, Discussion
Assessment
Seminar participation 35%
Discussion participation 15%
Thesis 50%
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.
馬傑偉 （1996）。電視與文化認同。香港：次文化堂。
洪清田（1999）。從【雍正】【還珠】看中港台社會文化。香港：明報出版社。
張振東、李春武（1997）。香港廣播電視發展史。北京：中國廣播電視出版社。
蘇鑰機、鋒庭耀（2001）。電視節目欣賞指數：香港經驗。香港：電視節目欣賞指數調查顧問團出版。
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

51. 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

52. 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 中國電影節目榜組委會，新銳 2000 廣告公司，《新周刊》雜誌社編著(2002)：《中國電視紅皮書 2001》。中國：漓江出版社。
黃升民，丁俊杰主編(2001)：《中國廣電媒介集團化研究》。北京：中國物價出版社。
劉現成(2000)：《華人傳媒分析》。台北：亞太圖書出版社。
鞠侃杉主編(2002)：《改革中國電視》。北京：工商出版社。
劉幼琍(1997)：《多頻道電視與觀眾：90 年代的電視媒體與閱讀人收視行為研究》。台北：時英出版社。
呂郁女(1999)：《衛星時代：中國大陸電視產業的發展與挑戰》。台北：時英出版社。
"Television Broadcast Limited" Hong Kong: TVB. 2002.

53. 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

54. 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

55. 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

56. 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

57. 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%

58. 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.

59. 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.

60. 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.

61. 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.
Assessment
Employer's Report 30%
Student's Report 30%
Student's Journal 30%
Oral Presentation 10%
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

62. 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

63. 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

64. 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

65. 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

66. 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 film’s story-construction to the film
maker’s 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

67. 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 Writer’s 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.