1. AESTHETICS OF FILM AND TV
1.1. THE FILM FORM
1.1.1. 2 FORMATS OF LENGTH OF FILM
1.1.1.1. SHORT FILM
1.1.1.2. FEATURE - LENGTH / FULL - LENGTH FILM
1.1.2. MODE OF FILM PRODUCTION
1.1.2.1. PREPRODUCTION STAGE
1.1.2.2. PRODUCTION STAGE
1.1.2.3. POSTPRODUCTION STAGE
1.1.3. FILM FORMATS
1.1.3.1. NARRATIVE
1.1.3.2. DOCUMENTARY
1.1.3.3. ANIMATION
1.1.3.4. EXPERIMENTAL
1.1.4. FILM IMAGE COMPOSITION
1.1.5. MOTION OF FRAMING CONCEPTS
1.2. THE TV BROADCAST
1.2.1. KINDS OF TV SHOWS
1.2.1.1. INFORMATIVE PROGRAMMING
1.2.1.2. ENTERTAINMENT PROGRAMMING
1.2.2. TV SHOW ANATOMY AND ADVERTISING
1.3. CRAFTING MEDIA MESSAGES
1.3.1. AUDIO PRODUCTION
1.3.2. IMAGE PRODUCTION
1.3.3. AUDIOVISUAL PRODUCTION
2. AESTHETICS OF NEW MEDIA
2.1. DECONSTRUCTING NEW MEDIA
2.1.1. NEW MEDIA TECHNOLOGY: CONVERGENCE AND CHARACTERISTICS
2.1.2. NEW MEDIA AS MULTIMEDIA
2.1.3. NEW MEDIA TRANSITIONS: FROM SYNERGY TO TRANSMEDIA
2.2. INTERSECTING TRADITIONAL MEDIA AND NEW MEDIA
2.2.1. JOURNALISM + INTERNET = BLOGGING
2.2.2. BROADCASTING + INTERNET = PODCAST
2.2.3. FILM + INTERNET = YOUTUBE
2.3. TRANSITIONING MEDIA, TRANSITIONING USERS
2.3.1. DIGITAL NATIVE
2.3.2. DIGITAL IMMIGRANT
3. AESTHETICS OF THE IMAGE, TEXT, AND AUDIO
3.1. FRAMING AND READING
3.1.1. NEWSPAPERS AND JOURNALISM
3.1.2. BOOKS, COMICS, MAGAZINES, AND THE PUBLISHING INDUSTRY
3.1.3. PHOTOGRAPHY AND TIMELESS IMAGE CONCEPTS
3.2. FRAMING AND LISTENING
3.2.1. RADIO
3.2.2. EVOKING IMAGINATION
4. AESTHETICS OF SOCIAL NETWORKING
4.1. DEEPER UNDERSTANDING OF SOCIAL MEDIA
4.1.1. SOCIAL MEDIA
4.1.2. KINDS OF SOCIAL MEDIA AND ITS VARYING USES
4.1.2.1. PRINT - BASED
4.1.2.2. AUDIO - BASED
4.1.2.3. PHOTO - BASED
4.1.2.4. VIDEO - BASED
4.1.2.5. SOCIAL NETWORKING SITES
4.2. RELEVANCE OF SOCIAL MEDIA IN TODAY'S SOCIETY
4.2.1. PERSONAL COMMUNICATION
4.2.2. BUSINESS AND COSTUMER CARE TOOL
4.2.3. SOCIAL SERVICE AND GOVERNANCE
4.2.4. EDUCATIONAL TOOLS
4.2.5. ADVOCACY CAMPAIGN FOR SOCIAL CHANGE
4.2.6. TRADITIONAL MEDIA COVERAGE AND SOCIAL MEDIA ENHANCEMENT
4.2.7. ENTERTAINMENT PORTAL