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.
Objectives and Contextualisation
Conceptualization and realization of audiovisual advertising products.
1.- Production:
The general process of audiovisual production in film and television.
Specificity in advertising activity. Advertising formats.
2.- Realization:
The basic knowledge of audiovisual language.
Technological and technical training for the use of audiovisual resources for taking images and sound and staging.
3.- Post-production:
The technological and technical training for the use of the audiovisual resources of the assembly and the digital edition. This will allow to have a consolidated knowledge framework to define the importance of Production and Realization in the general formation of Communication and specifically of the advertising production process.
Knowledge of the development of audiovisual projects and organization of human resources, knowledge of the development of audiovisual projects and organization of human, artistic and technological resources to apply to their activity in the field of advertising.
Special impact on the advertising figure of the Producer as responsible for the organization and development of advertising production in the audiovisual media.
Content
syllabus
1.- PRODUCTION:
THE PRODUCTION PROCESS.
Production and organization phases.
Technical and production personnel.
Work plan.
Filming plan.
ADVERTISING PRODUCTION.
The advertising producer.
Relations advertising agency and producer.
The Producer.
Casting.
Advertising formats, genres and styles.
Production and realization styles.
Decalogue and manual of style.
2.- REALIZATION:
THE ADVERTISING SCRIPT.
The idea.
Synopsis and treatment.
The literary script.
The technical script.
storyboard.
THE REALIZATION.
Narrative units: plane, scene and sequence,
The camera: features and taking images and sound
The composition.
Planning the filming on set and outdoors.
3.- POSTPRODUCTION.
Assembly and rhythm Sonorization.
The digital technological and technical process.
Soundtrack: voice, music, voice and effects.
Graphic editing: color, typography.
Methodology
ACTIVE PEDAGOGY:
1 ADVERTISING PROJECT
The students are grouped into production EQUIPMENT from which they carries out the realization of an ADVERTISING PROJECT, aimed at devising, carrying out and designing the dissemination strategy of an advertising, commercial or social campaign, of which 'they end up producing a spot and a telestore, according to a model of active pedagogy, theoretical-practical, consisting of experiencing the theoretical concepts taught in the classes and applying models of audiovisual realization similar to those carried out in the professional field. The advertising project is aimed at organizing human, artistic and technological resources in the field of advertising production.
The PROJECT is therefore the backbone on which the theoretical corpus is articulated and experienced, applied through active peagogia, taking into account the stages of: PRE-PRODUCTION (Script and Organization), REALIZATION (Recording and staging) and POST-PRODUCTION (Editing).
The PROJECT has the support of a decalogue or manual of style with the fundamental aesthetic and ethical criteria to be taken into account for the realization of the products (spots and teleshopda) of the advertising project.
Each decalogue takes into account the following general reference criteria:
Image: use and narrative value of the plans, movements and movements of the camera, scenarios, light, color and graphics.
Sound: use and value of voice, music and effects.
Protagonists: justification of a typology of bodies, gender, age, phenotype, skin color and other physical traits, as well as interactions between the characters. Advertising representation of reality and/or fiction.
Limits of creative resources such as humor, emotion, etc.
Production: limits set by potential customers
Reception: realization designed in audiences or potential consumers of the messages and social and sociocultural effects dynamitzadors.
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.
Bibliography
Bassat, Lluis (1994): El libro rojo de la publicidad. 4ª Edición, Madrid: Debolsillo. Disponible en: https://myslide.es/documents/el-libro-rojo-de-la-publicidad-luis-bassat-56a0ff9c0607e.html (consultado el 13 de abril de 2018). Ver un resumen en García-Uceda, Mariola (2009): Las claves de la publicidad. Madrid: ESCI, 6ª Edición, pp.301-309. Disponible en: https://books.google.es/books?id=MSV9_aUxVzMC&pg=PA9&hl=es&source=gbs_selected_pages&cad=2#v=onepage&q&f=false (consultado el 13 de abril de 2018). Ver esta presentación en video:
http://www.e-studionline.com/materiales/plato_virtual/html5.html (consultado el 13 de abril de 2018).
Blanch, M.; Lázaro, P. (2010) Aula de locución. Madrid: Cátedra.
Fernández Díez, F.; Martínez Abadía, J. (1999) Manual básico de lenguaje y narrativa audiovisual. Barcelona: Paidós.
Lázaro, P. (2016): Apunts. Assignatura: Llenguatges Comunicatius Escrits i Audiovisuals. Bellaterra: UAB.
Lorite García, N. (2021): “Publicidad, diversidad fenotípica y dinamización intercultural en Cataluña en tiempos de crisis y cambios”. En Cuadernos.info, 48, pp.139-165. Disponible en: http://ojs.uc.cl/index.php/cdi/article/view/27671: (consultado el 3 de febrero de 2021).
Lorite García, N.; Grau Rebollo, J.; Lacerda, J. (2018): “Representation of sociocultural diversity in audiovisual advertising: materials for inclusive treatment”. En Revista Latina de Comunicación Social, 73, pp. 425 a 446. Disponible en: http://www.revistalatinacs.org/073paper/1263/22es.html (consultado el 3 de abril de 2018).
Lorite García; N.; Grau Rebollo, J. (2017): “La representación de la diversidad sociocultural en la publicidad televisiva de prime-time en España desde la óptica del alumnado universitario”, en Temps d’Educació, 53, Barcelona: Universitat de Barcelona. Disponible en: https://ddd.uab.cat/pub/artpub/2017/186421/temedu_a2017v53p13.pdf (consultado el 14 de abril de 2018).
Lorite García, N.; Entenza, A.; Muraca, E. (2017): “Identidad cultural de la música y el color en la publicidad televisiva española. Propuestas para su incorporación al aula”. En Temps d’Educació, 53, p. 45-65. Universitat de Barcelona. Disponible en: https://ddd.uab.cat/pub/artpub/2017/186422/temedu_a2017v53p45.pdf (consultado el 14 de abril de 2018).
Millerson, G. (2001): Técnicas de realización y producción en TV. IORTV, Madrid. Cuarta edición.
Morales Morante, F. (2017). Editing and Montage in International Film and Video: Theory and Technique. London: Focal Press - Rouledge/Taylor and Francis.
Morales Morante, F. (2013): Montaje audiovisual: Teoría, técnica y métodos de control. Barcelona: UOC.
Rodríguez Bravo, A. (1998) La dimensión sonora del lenguaje audiovisual. Barcelona: Paidós.