1. AESTHETICS (IMAGE, TEXT AND AUDIO)
1.1. FRAMING AND READING
1.1.1. NEWSPAPERS AND JOURNALISM
1.1.2. BOOKS, COMICS, MAGAZINES, AND THE PUBLISHING INDUSTRY
1.1.3. PHOTOGRAPHY AND TIMELESS IMAGE CONCEPTS
1.2. FRAMING AND LISTENING
1.2.1. EVOKING IMAGINATION
1.2.2. RADIO
2. AESTHETICS OF FILM AND TV
2.1. FILM FORM
2.1.1. LENGTH OF FILM
2.1.1.1. SHORT FILM
2.1.1.2. FEATURE-LENGTH FILM
2.1.2. MODE OF FILM PRODUCTION
2.1.2.1. PRE-PRODUCTIION STAGE
2.1.2.2. PRODUCTION STAGE
2.1.2.3. POST-PRODUCTION STAGE
2.1.3. FILM FORMATS
2.1.3.1. NARRATIVE
2.1.3.2. ANIMATION
2.1.3.3. DOCUMENTARY
2.1.3.4. EXPERIMENTAL
2.1.4. FILM IMAGE COMPOSITION
2.1.5. MOTION OF FRAMING CONCEPTS
2.2. THE TV BROADCAST
2.2.1. KINDS OF TV SHOWS
2.2.1.1. INFORMATIVE PROGRAMMING
2.2.1.2. ENTERTAINMENT PROGRAMMING
2.2.2. TV SHOW ANATOMY AND ADVERTISING
2.3. CRAFTING MEDIA MESSAGES
2.3.1. AUDIO PRODUCTION
2.3.2. IMAGE PRODUCTION
3. AESTHETICS OF NEW MEDIA
3.1. TRANSITIONING MEDIA, TRANSITIONING USERS
3.1.1. DIGITAL NATIVE
3.1.2. DIGITAL IMMIGRANT
3.2. DECONSTRUCTING NEW MEDIA
3.2.1. NEW MEDIA TECHNOLOGY: CONVERGENCE AND CHARACTERISTICS
3.2.2. NEW MEDIA TRANSITIONS: FROM SYNERGY TO TRANSMEDIA
3.3. NEW MEDIA AS MULTIMEDIA
3.4. INTERSECTING TRADITIONAL MEDIA AND NEW MEDIA
3.4.1. BROADCASTING+INTERNET = PODCAST
3.4.2. FILM+INTERNET = YOUTUBE
3.4.3. JOURNALISM+INTERNET = BLOGGING
4. AESTHETICS OF SOCIAL NETWORKING
4.1. RELEVANCE OF SOCIAL MEDIA IN TODAY'S SOCIETY
4.1.1. PERSONAL COMMUNICATION
4.1.2. BUSINESS AND CUSTOMER CARE TOOL
4.1.3. SOCIAL SERVICE AND GOVERNANCE
4.1.4. EDUCATIONAL TOOLS
4.1.5. ADVOCACY CAMPAIGN FOR SOCIAL CHANGE
4.1.6. TRADITIONAL MEDIA COVERAGE AND SOCIAL MEDIA ENHANCEMENT
4.2. DEEPER UNDERSATNDING OF SOCIAL MEDIA
4.2.1. SOCIAL MEDIA
4.2.2. KINDS OF SOCAIL MEDIA AND ITS VARYING USES
4.2.2.1. PHOTO- BASED
4.2.2.2. PRINT-BASED
4.2.2.3. AUDIO-BASED
4.2.2.4. VIDEO BASED
4.2.2.5. SOCIAL NETWORKING SITES