COURSE CORRECTION
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FTII no longer resembles a period drama. With a revised syllabus reflecting contemporary concerns, the country’s premier film training institute has shot back into focus, reports VINITA DESHMUKH

The thrust of the FTII is to make the student familiar with all the audio-visual tools, with image and sound as the language

Much like your familiar Bollywood potboiler, after the protracted buildup comes the predictable denouement. And much like everything else in a liberalised economy courting the markets, the switch signals a submission to the forces of popular demand. The embattled Film and Television Institute of India (FTII) has given in to technology in its revised syllabus. It now promises to raise its current batch of 67 students to face the rigours of the contemporary audio-visual world.

Even as the 40 odd structures that dot the campus in Pune look as dilapidated as ever, the interiors have been spruced up to usher in the colours of change, with 60 hi-tech computers promising to salvage the country’s premier institute from becoming obsolete. The change comes four years after the batch of 1996 went on a prolonged strike to protest the compression of the three-year course into a two-year training. Fittingly enough, the resurrection has been brought about by a panel of experts including the now uncompromisingly commercial director Mani Ratnam. The new curriculum, termed ‘‘radical’’ by the experts, is claimed to have ironed out all controversies.

To recount, from its inception in 1961 until 1972, FTII focused on film courses that produced several renowned cine artistes of Bollywood. The courses included directing, editing, audiography and cinematography. In 1972, the television wing was added but it mainly comprised in-service training where the staff of Doordarshan would come for short-term courses as an add on to their work experience and comprised basic courses in television production. Thus, says a senior staff member on the basis of anonymity, ‘‘The students who were pursuing the film course looked down upon the television wing, not the least because they used to be automatically selected for specialisation.’’

Says Mohan Agashe, Director, FTII: ‘‘The institution failed to take note of the phenomenal growth of television, radio and subsequently the computer era, despite the fact that India produces the highest number of films in the world and this is the premier institute for audio and visual education.’’

The student agitation eventually led to the formation of a panel, which included experts from the West as well as the staff members of FTII. And after four months of intensive work, says Agashe, ‘‘The academic revamping comprises the integration of film, television and the new media (computers). Thus the student will now be exposed to all the tools of the audio-visual media. The new syllabus has doubtless become a formidable one and also ensures that no student can take his three years for granted. He or she has to prove his skills year after year. This will ensure true professionalism and accountability.’’

Though fees has been hiked from Rs 2,500 to Rs 15,000 per year, Agashe calls it a minimal raise. ‘‘The institute would have shut down if the fees was not raised. FTII spends Rs 4.5 lakh per year per student. At present, the institute faces an annual financial crunch to the tune of almost Rs 1 crore from its non-planned budget of Rs 6 crore.’’

The revised syllabus has done away with the final year-end examination and reduced the thrust of classroom teaching with the focus turned to ‘‘learning by doing and by continuous assessment.’’ Students for the current academic session have come from all parts of the country and 30 per cent of them have some experience or the other in the related field.

The syllabus for the first year comprises the basic course in film as well as in television. After the students complete the first year, they will be granted the basic certificate course. In the second year, they will have to appear for an entrance examination, and if found deserving they will then be be allowed to continue with the second year. At the end of the second year, they will be issued a certificate for specialisation in direction, cinematography, audiography and editing. Depending on the projects submitted during the second academic year, they will be judged again for the third year, which will lead them to the post-graduate diploma, with a specialisation in direction, cinematography, audiography or editing.

Clearly, while revamping the syllabus, the panel bore in mind the changes in the audio-visual world in the past 10 years. With the audio-visual medium being used for a variety of purposes, whether it be a promotional campaign, news, education or entertainment, the thrust of the FTII is to make the student familiar with all the audio-visual tools with image and sound as the language. The choice of the medium will, however, be left to the student at the end of the three-year tenure.

Confirms a student on the condition of anonymity: ‘‘Most of the pre-and-post production work is done on computers, like scripting, scheduling, budgeting and controlling costs and I’m happy that the FTII is helping us meet this IT challenge.’’ Hugh Prucell, a former producer of BBC, while strolling across the campus shares his impressions: ‘‘My initial impression was of a site of dilapidated buildings that did little to suggest that I was entering India’s premier film school. Closer inspection of the exterior revealed a curious mixture of signals that did point to an institution occupied by students. These included graffiti calling for strike action at the gate, a faded pastiche of Picasso’s Guernica painted on the side of a building, seemingly half completed, undistinguished statues on the lawn and a swimming pool empty except for a puddle of dirty water. Yet, most of the equipment is modern, almost state-of-the-art. What added to my excitement was the quantity and quality of equipment which I never expected to see. The 6 by 5 mil cameras and 4 by 16 mil cameras would be the envy of not only of a film school in Europe but also a Western broadcaster.’’

The ambitious plans, besides the revised curriculum, also include introduction of small courses. ‘‘With government support, I would like to introduce weekend courses or six-week courses on film and television acting. In fact, I would like to start a FTII Rang Manch which will have a representation of local talent who will be trained in spoken Hindi and skill grooming. We could have a data bank of portfolios and our recommendations could help producers in talent hunting because we will have already done the ground work.’’

The close-up, then, no longer suggests a flashback. The FTII has shot back into view with the present firmly in focus and the lens trained on the future.

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