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Culture in the Media

Code: 100030 ECTS Credits: 6
Degree Type Year Semester
2502758 Humanities OB 3 2
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


Josep Maria Perceval Verde

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:


It is advisable to have some knowledge of communication sciences and journalism.

The teaching methodology and the evaluation proposed in the guide may

undergo some modification subject to the onsite teaching restrictions

imposed by health authorities.




Objectives and Contextualisation

The subject of Cultural Communication aims to make the student aware of the cultural communication networks and new cultural practices within the media situation derived from the extension of the mass media and globalization, which acquires a series of critical tools for analyze this situation and these new practices, that practice a new methodology of analysis of this hybrid society and that acquires a critical vision about the relationships that are established between people, collectives and institutions that starting from experiences, discourses and representations socioculturally several make up what it is defined as mainstream culture (main or predominant culture): the challenges of cultural and intercultural communication, the practices and new behaviors of social actors through new networks and new tools for understanding the fluid reality of the 21st century.


Cultural communication, overcoming the elitist vision that practiced the analysis of classical communication networks, explains the complex and dynamic social relations that are developed at an interpersonal and collective level determined by very diverse social and political contexts, in a process of accelerated globalization. We will show that culture and cultures are not homogeneous or static beings but hybrids and dynamics. This study will be done from an interdisciplinary perspective as a transversal vector of cultural communication.


  • Critically analysing the contemporary culture.
  • Identifying the historical processes of contemporary culture.
  • Properly using the resources and methodologies of the study of contemporary culture.
  • Respecting the diversity and plurality of ideas, people and situations.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.

Learning Outcomes

  1. Applying the knowledge of the different cultural genres to the media.
  2. Assessing the implications of photography, cinema, video and television as culture spreading media.
  3. Defining the value of cultural magazines in the contemporary culture.
  4. Identifying the production and realisation techniques in printed, audiovisual and hypermedia.
  5. Questioning the established behaviours concerning audiovisual media.
  6. Relating the artistic creations from various periods with other cultural phenomena.
  7. Using the appropriate terminology and style in the drafting of a journalistic text.



Small introduction explaining program: Communication networks and cultural values.

Conceptual introduction
1.1. Culture and communication: the transition from a multicultural society to an intercultural society. The survival of patriarchal discourse in THIS cultural path.

1.2. Definition and Evolution of the concept 'culture'

1.3. The debate on levels of culture (elite culture) and mass culture (mainstream culture)

1.4. Definition of 1 means of mass: the elitist form to the product of cultural consumption.

1.5. Institutionalization of mass culture. The concept of cultural industry and cultural consumption.

Culture, mitjans and mass communication.
2.1. Theories, schools and authors: debates Around mass culture.

2.2. From the Frankfurt School (Adorno, Benjamin, Habermas) in the Castle Networks and in the radical American Critics.

2.3. Interpretive theory, functionalist theory (Tylor and Raddcliffe-Brown)

2.4. Concepts under discussion: appropriation '(Ricoeur), cultural hegemony' (Gramsci), discursive genre and polyphony (Bajtin), self-control and ombralls of shame (Elias), disruption, cultural construction and discourse (Foucault) Reception and re-contextualization (Michel de Certeau), habitus Distinction and field (Bourdieu), interface (Goody), ...

2.5. Counter culture and culture 'trash' The media against culture and the rebellion of urban culture (From Warhol to the Banksy Phenomenon).

2.6. The ideology of the media: ideology of communication

The sources of cultural information. The genres of cultural information.
Cultural information in the mass media
4.1. The cultural information in the premsa.Política de Géneros. Stability and innovation within the framework of the different media systems.

4.2. The cultural information on the radio. Orality and writing: disclosure and creation. New formats Programming on cultural information on the radio grill. Radio inthe analogue era and in the digital era.

4.3. Concept of culture in the era of television. Definition and Evolution of cultural formats in television. Debates on the figure and evaluation of the intellectual and performance of the television Critics (Analysis of Reich-Ranicki, Bernard Pívot, Oprah Winfrey, Sánchez Dragó, Jaime Bayly ...). Programs and cultural chains in Europe of the Public Service. Generalist televisions and thematic televisions.

4.4. Changes in relation to culture, information, Knowledge in the Internet age. Renewal of cultural diffusion circuits. New concept of cultural creation. The critical culture in the Internet age. The new actors of culture. Author and Intellectual property in the new production space of the network. Formats for Internet and hybrid formats.

4.5. Fiction in cultural TV.

4.6. The videogames and the new mass cultural devices.


Methodology. There are three types of activities: directed, supervised and autonomous.

o Autonomous. They will not change regardless of whether the teaching is face-to-face or virtual.

o Directed (theoretical and practical classroom classes). They must be able to adapt, if necessary, in whatever percentage, to virtual teaching, through the various existing systems (Teams, narrated powerpoints, videos, podcasts, etc.). Video projections and text comments; Recension of exits to exhibitions and cultural events; Practical work on urban culture; Interventions in class or in virtual forums if at all.

• External Practices. They must be programmed counting that they can be carried out in person with the appropriate protection measures.

• Supervised. To the extent that they are tutored by the teacher, face-to-face can easily be converted into virtuality.

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Typus dirigis 0 0 1, 3, 5, 6, 2
Type: Supervised      
Supervised tips 0 0 7, 4


In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Attendance: an comprehension exercise at the end of each class (10%), two, a practical work on the cultural industry (40%) and a final thematic test (50%).
Semi-attendance: face-to-face theoretical classes with a comprehension exercise at the end of each class (10%), a virtual forum (moodle classroom) with an evaluable media culture theme and two works based on a research of the cultural industry in internet (each of these tests counts for 30%).
Total virtuality: the theoretical classes consist of audiovisual material and documents to make a weekly summary (10%). A virtual forum (moodle classroom) with a theme of culture in the media evaluable and two works based on a research of the cultural industry on the Internet (each of these tests has 30%).

In order to participate in the recovery, the student has had to obtain this privilege in a set of activities for which the quals were equal to a minimum of 2/3 parts of the total qualification. Hi haurà recovered for those students who arrived at a mitjana of 3.5 in the final grade

there will be recovery for those students who reach an average of 3.5 in the final grade.

The student will receive the grade of Not assessable as long as he / she has not submitted more than 30% of the assessment activities.

It will also include as a non-evaluable student that has been presented less than 30% of the tests and practices.

In the event that the student commits any irregularity that could lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instructed. In the event of several irregularities in the evaluation acts of the samesubject, the final grade for this subject will be 0.

On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place.

In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Directed supervised 16 0.64 4, 6
Directed Supervised 100 4 3, 2
Title Weight 34 1.36 1, 7, 5, 6




  • BAUMANN, Zygmunt (2002). La cultura como praxis, Paidos.
  • BOURDIEU, Pierre (2000) ¿Qué significa Hablar?, Akal
  • BURNETT, Robert (1999) The Global Jukebox. The international Music Industry. London. Routledge.
  • BUSTAMANTE, Enrique (Coord.) (2003) Hacia un nuevo sistema mundial de comunicación. Las industrias culturales en la Era Digital. Gedisa.
  • ELIOT, Thomas (2003). La unidad de la cultura europea. Notas para la definición de la cultura. Encuentro. Madrid.
  • FLICHY, Patrice Lo imaginario de Internet. Tecnos. Madrid. 2003. -
  • GARCIA CANCLINI, N. (1999). La globalización imaginada. Paidós. Buenos Aires.
  • HEINICH, Nathalie (2016), l'artiste contemporain, Lombard, Bruxeles.
  • HEINICH, Nathalie (2009) Guerres culturelles et art contemporain, Hermann, Paris. 
  • MARTEL, F., (2011) Cultura Mainstream, Taurus.
  • MATTELART, Armand (1995) La invención de la comunicación. Bosch. Barcelona.
  • MATTELART, Armand (2006) Diversidad cultural y mundialización. Paidós. Barcelona.
  • PERCEVAL, José María (2015) Historia mundial de la Comunicación, cátedra.
  • SMIERS, Joost (2006) Un mundo sin copyright. Artes y medios en la globalización. Gedisa. 2006.
  • VOGEL, Adrain (2004) La industria de la cultura y el ocio. Un análisis económico. Datautor.
  • WARNIER, Jean Pierre (2005) La mundialización de la cultura. Gedisa. Barcelona.




No special knowledge is needed except the normal ones to make a word, a pdf or to present a power point.