1. AESTHETICS OF FILM AND TV
1.1. FILM FORM
1.1.1. LENGTH OF FILM
1.1.1.1. SHORT FILM
1.1.1.2. FULL LENGTH FILM
1.1.2. MODE OF FILM PRODUCTION
1.1.2.1. PRE-PRODUCTION
1.1.2.2. PRODUCTIION
1.1.2.3. POST PRODUCTION
1.1.3. FILM FORMATS
1.1.3.1. NARRATIVE
1.1.3.2. ANIMATION
1.1.3.3. DOCUMENTARY
1.1.3.4. EXPERIMENTAL
1.1.4. FILM IMAGE COMPOSITION
1.1.5. MOTION OF FRAMING CONCEPTS
1.2. TV BROADCAST
1.2.1. TV SHOW ANATOMY AND ADVERTISING
1.2.2. KINDS OF TV SHOWS
1.2.2.1. INFORMATIVE
1.2.2.2. ENTERTAINMENT
1.3. CRAFTING MEDIA MESSEGES
1.3.1. AUDIO PRODUCTION
1.3.2. IMAGE PRODUCTION
2. AESTHETICS OF NEW MEDIA
2.1. TRANSITIONING MEDIA, TRANSITIONING USERS
2.1.1. DIGITAL NATIVE
2.1.2. DIGITAL IMMIGRANT
2.2. DECONSTRUCTING NEW MEDIA
2.2.1. CONVERGENCE AND CHARACTERISTICS
2.2.2. NEW MEDIA AS MULTIMEDIA
2.2.3. NEW MEDIA TRANSITIONS: FROM SYNERGY TO TRANSMEDIA
2.3. INTERSECTING TRADITIONAL MEDIA AND NEW MEDIA
2.3.1. JOURNALISM+INTERNET= BLOGGING
2.3.2. BROADCASTING=INTERNET= PODCAST
2.3.3. FILM+INTERNET=YOUTUBE
3. AESTHETICS OF IMAGE, TEXT, AND AUDIO
3.1. FRAMING AND READING
3.1.1. NEWSPAPERS AND JOURNALISM
3.1.2. BOOKS, COMICS, MAGAZINES, PUBLISHING INDUSTRIES
3.1.3. PHOTOGRAPHY AND TIMELESS IMAGE CONCEPTS
3.2. FRAMING AND LISTENING
3.2.1. EVOKING IMAGINATION
3.2.2. RADIO
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 CUSTOMERS 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 SOCIAL MEDIA COVERAGE AND SOCIAL MEDIA ENRISHMENT
4.1.7. ENTERTAINMENT PORTAL
4.2. DEEPER UNDERSTANDING OF SOCIAL MEDIA
4.2.1. KINDS OF SOCIAL MEDIA
4.2.1.1. PRINT BASED
4.2.1.2. AUDIO BASED
4.2.1.3. PHOTO BASED
4.2.1.4. VIDEO BASED
4.2.1.5. SOCIAL NETWORKING BASED