Post Date: 05 Mar, 2020

Basic Course in Introduction to Sound & Music in Cinema on FTII, Pune campus from 22nd to 26th April 2020

Film and Television Institute of India (FTII), Pune, under its Skilling India in Film & Television (SKIFT) initiative announces Basic Course in Introduction to Sound & Music in Cinema on FTII, Pune campus.

Following are the details in this regard;

(1)    Name of the Course: Basic Course in Introduction to Sound & Music in Cinema

(2)    Dates & duration: 22nd to 26th April 2020 (including Saturday & Sunday) & 05 days

(3)    Timings: 10.00 am to 6 pm

(4)    Max. no. of participants: Upto 18 (Course will be conducted only if minimum strength of 14 participants is reached)

(5)    Age: 18 & above as on 01st April 2020

(6)    Educational Qualification: HSC (12th pass). In exceptional cases, even, 10th pass

(7)    Nationality: Indian

(8)    Venue: Film Sound Dept., FTII, Pune

(9)    Course fees: Rs 15,000/- per participant (base fee = Rs 12,712/- & GST = Rs 2,288/-)

(10)    Mode of payment: Demand Draft to be drawn in favour of “Accounts Officer, Film & TV Institute of India, Pune”, and must be payable at Pune.

(11)    Last date to submit application: 27th March 2020

(12)    Course Director (Main Faculty): Mr. Madhu Apsra
    Madhu Apsara, an aluminus of FTII from 1988 batch. Recorded and Designed Sound for the feature films Andhadhun (Star Screen Award for Sound Design 2018), Badlapur, Agent Vinod, Johnny Gaddar (won the Film Fare award for sound Design in 2007), Ek Hasina Thi, Evening Shadows, Throne of Death (The film won Camera D'or at Cannes in 1999), The Dogs Day, Unni, Virgin Goat, Dharavi, Hazarom Kwaish Aise, Gattu, Stanley Ka Dabba, Jhankar Beats and Alladin. He was part of the Sound team of the feature films Ashoka, Company, Bhooth, Gayab, Dhoom 1, Hum Kon Hai, Ab Thak Chappan, Kaal, James, Dhoom 2, Luck, Agyath, Udan.
    Co-wrote and Designed the Sound for the feature film Wart (The Story that Begins at the End). He worked as an Assistant Director with Mani Kaul in the films The Cloud Door, The Servant's Shirt, Light Apparel and Bhoj.
    He designed Sound for the documentaries Lovely Villa, Raag Prayag, Garden of Forgotten Snow, The Red Ant Dreams, Jash-ne-Azadi, Manjuben Truck Driver, Sea City, Breaking Free. Documentary series Miracles of Faith and Different Life of Channel 4, and My Life of BBC.
    Presently he is working at FTII as a faculty for the past three years.

(13)    How to apply: Download the application form from FTII website. Fill – in the details, attach required Demand Draft of Rs 15,000/- and deliver it in person or speed post to;

            Shri Milind Joshi,
           Advisor, Outreach,
           Film & Television Institute of India,
           Law College Road,
           Pune  411 004
so as to reach on or before 27th March 2020 by 5 pm.”

        On envelope of application, at top left, please write “Application for Basic Course in Introduction Sound & Music in Cinema”. Incomplete applications & applications received after due date & time will be rejected.

(14)    Selection Criteria: On First Come First Served basis. However, course will be conducted only if minimum strength of 14 participants is reached. Selected candidates would be communicated by email. Course fees of the selected candidates will be non – refundable, non – transferable, non – adjustable etc under any circumstances. Demand Drafts of non–selected candidates would be returned within 04 days after course commencement.

(15)    Medium of Instructions: English

(16)    Certificates: All participants would be given participation certificate on successful completion of the course. Minimum 90% attendance is mandatory.

(17)    Accommodation: Outstation participants may please note that, as of now, no accommodation is available and participants need to make their own lodging & boarding arrangements. However, very limited accommodation, on sharing basis may be available in FTII Guest House/ Hostel in due course, which will be then allotted on additional advance payment. Participants are requested to confirm the availability of same by sending a request to

(18)    Campus Decency & Decorum: Participants need to assure general decency, decorum etc on campus as well as in Guest House/ Hostel room, if allotted. Failing to comply with the same, admission to the course and or Guest House/ Hostel room allotment may be cancelled and such participant may have to forfeit the fees paid. All rights in this regard are reserved with FTII administration.

(19)    Queries: For any queries please contact Mr. Milind Joshi, Advisor Outreach, FTII, on

Course Details

About the Course.

When Sound came into cinema Alfred Hitch Cock observed that sound has taken purity out of cinema. He said that by then they had mastered the craft of making silent films and may be just missed the actors speaking and other noises associated with it. But with sound they would end up shooting people talking.
Having said that Hichcock did not just add sound to his silent film but adapted sound to his story telling. So did many masters like Orson Welles, Sergio Leone, Robert Bresson, Fellini, Ozu, just to name a few. Robert Bresson followed a method of using the sound for most of the story telling. He made the visuals present the information than represent. Many other filmmakers have found that sound can be used in bringing out the temporal aspect in cinema. This is contrary to the belief that sound is a technical addition to enhance the visual experience in cinema.

Sound is the first sensation that all of us developed even before we were born. And after birth it is sound that we responded to. A newborn takes time to see and decipher objects and colour but responds to sound instantly. Singing came to all of us naturally, as several studies show that most children imitated their mothers when the mothers sang to them.
For some reason we ignore this sensation unless something extraordinary happens around us. But we cannot ignore the fact that sound is constantly affecting us.
It is this aspect of sound that attracted many filmmakers. That is sound while being unobtrusive can guide the emotional movement in a narrative. Masters have found a way of manipulating the cinema image with the rhythm of sound.

Course Content.

Analysis and understanding how sound is used by some of the masters.

Understanding the emotional development in a narrative with the help of music.

Developing a story idea to a shooting script with sound.

Emphasis on how the shot taking can change when sound is incorporated.