Audiovisual Scripts for Non-Fiction
Code: 103064 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2501928 Audiovisual Communication | OT | 3 | 1 |
| 2501928 Audiovisual Communication | OT | 3 | 2 |
| 2501928 Audiovisual Communication | OT | 4 | 1 |
Contact
- Name:
- Luisa de Carmen Martínez García
- Email:
- luisa.martinez@uab.cat
Use of Languages
- Principal working language:
- spanish (spa)
- Some groups entirely in English:
- No
- Some groups entirely in Catalan:
- No
- Some groups entirely in Spanish:
- Yes
Prerequisites
Students must have basic knowledge of certain software, such as text editors, video editors (open source) and audio editors (Audacity).
Objectives and Contextualisation
The main objectives are:
- Know and understand the fundamental theoretical concepts for the creation of non-fiction scripts.
- Relate and apply theoretical and practical concepts in the creation of non-fiction scripts in the field of radio and television
communication mainly.
- Work the process of the idea up to the script.
Competences
- Audiovisual Communication
- Apply narrative and presentation skills specific to audiovisual content.
- Disseminate the area's knowledge and innovations.
- Manage time effectively.
- Show leadership, negotiation and team-working capacity, as well as problem-solving skills.
- Use one's imagination with flexibility, originality and ease.
Learning Outcomes
- Design, plan and develop a communication project.
- Develop aesthetic sensitivity to create audiovisual products.
- Disseminate the area's knowledge and innovations.
- Manage time effectively.
- Promote innovations in the development of audiovisual narratives.
- Show leadership, negotiation and team-working capacity, as well as problem-solving skills.
- Use one's imagination with flexibility, originality and ease.
Content
Bearing in mind that students have studied the Audiovisual Guion of Fiction course, the topics proposed in the temary will focus on the complexity of the production of non-fiction audiovisual scripts.
The topics proposed are:
- The script in non-fiction
- Non-fiction and journalistic genres
- Production and routines
- The construction of non-fiction audiovisual narration
- New forms of non-fiction audiovisual expression
Methodology
This subject has a theoretical-practical component that is reflected in the approach of the temary. The theoretical classes will provide the basic concepts that the students will have to develop in their work project.
This must be used to verify the contents of the subject. The seminars will mainly facilitate the analysis, reflection and debate about the construction processes of the non-fiction audiovisual script.
The calendar will be available on the first day of class. Students will find all information on the Virtual Campus: the description of the activities, teaching materials, and any necessary information for the proper follow-up of the subject. In case of a change of teaching modality for health reasons, teachers will make readjustments in the schedule and methodologies.
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.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Practices | 22 | 0.88 | 1 |
| Seminars | 15 | 0.6 | |
| Theoretical classes | 15 | 0.6 | 2, 5 |
| Type: Supervised | |||
| Tutorial | 7 | 0.28 | |
| Type: Autonomous | |||
| Own study | 40 | 1.6 | 4 |
| Realization of the project | 41 | 1.64 | 6, 2, 1 |
Assessment
The continuous evaluation system is made up of three different parts, each one of which must be passed to pass the subject:
A) Theoretical exam: 50%
B) Practices: 40%
C) Active participation in practices and seminars: 10%
The students that have participated in the continuous evaluation and suspend the theory can recover it whenever they have obtained a minimum score of 3.5 points and have made the ordinary revision.
The mark obtained will be the final note of this part. The result of this activity must not represent the final grade. The practices and seminars are not recoverable.
The student who performs any irregularity (copy, plagiarism, identity theft...) will be qualified with 0 in this assignment or exam. In case there are several irregularities, the final grade of the subject will be 0.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Active participation in practices and seminars | 10% | 4 | 0.16 | |
| Practices | 40% | 3 | 0.12 | 7, 6, 2, 4, 1 |
| Theoretical examination | 50% | 3 | 0.12 | 3, 5 |
Bibliography
Basic bibliography:
Gifreu, Arnau (2015). "Evolución del concepto de no ficción". Obra digital Revista de Comunicación. https://dialnet.unirioja.es/servlet/articulo?codigo=5287851
Halperín, Joaquin. (2008) La Entrevista Periodística. Ed. Aguilar. Madrid.
Herrera, Susana. (2008). Cómo elaborar reportajes en radio, La Cruíja, Buenos Aires.
Herrera, Susana (2007). "La estructura del reportaje en radio". En Area Abierta, núm. 17, Madrid.
Mar, M. M., & Pablo MORENO RUÍZ. (2019). ‘News from home’ de chantal akerman: El documental autobiográfico en el contexto del documental contemporáneo. Fonseca, (18), 103-115.
Míguez, Roberto (2014). "Ficción y no ficción en la cultura audiovisual digital". Telos 99. https://bit.ly/2Smolp4
Peña, Daniel (2016). "Diseño de guiones para audiovisual: ficción y documental" http://ilitia.cua.uam.mx:8080/jspui/handle/123456789/750
Rodríguez, Raúl. “Documental Sonoro y Arte Radiofónico.” Historia y comunicación social 26.2 (2021): 441–451.
Scolari, Carlos A. (2014). “Narrativas transmedia: nuevas formas de comunicar en la era digital”.En Anuario AC/E de Cultura Digital, pp. 72-81. https://www.socialnautas.es/wpcontent/uploads/2016/10/6Transmedia_CScolari.pdf
Vallejo, Aida (2007), “La estética (ir)realista. Paradojas de la representación documental”, DocOnline, no2, julio, Pp.82-106, https://dialnet.unirioja.es/servlet/articulo?codigo=4001053
Vallejo, Aida (2008). “Protagonistas de lo real. La construcción de personajes en el cine documental” en Secuencias, no27, Pp.72-89. https://repositorio.uam.es/handle/10486/3946
Yañez, María (2012). "El documental que viene nace de la web". http://antes.embed.at/article81.html
Further bibliography:
De Lara Rangel, María del Carmen. “El cine documental mexicano hecho por mujeres.” Fonseca (Salamanca) 18 (2019): 13–23.
Ortells-Badenes, Sara i alt. (2015). “Los magazines de actualidad basados en el infoentretenimiento: nuevos rasgos del lenguaje audiovisual en el periodismo televisivo”. En Signo y Pensamiento. Avances. 66, Vol. XXXIV. p.44-61.
Rodríguez, Raúl (2014). “El relato por otros medios: ¿un giro transmediático?. En Cuadernos de Información y Comunicación, 19, pp. 19-37.
Romero, Laura (2012). “Radio y arte sonoro: ¿es posible la integración?”. En Gallego, J. Ignacio y García Leiva, M. Trinidad (coords.) Sintonizando el futuro: Radio y producción sonora en el siglo XXI. Instituto RTVE, Madrid
Vilalta, J. (2008). El reportero en acción. Comunicación activa, 2. Publicacions i Edicions de la Universitat de Barcelona. Barcelona.
Villegas Vélez, Álvaro Andrés. (2019) “Estrategias Ficcionales En El Documental Contemporáneo En Primera Persona.” Alpha (Osorno, Chile) 47, 225–236. Web.