Content
DRAFTING AND SCRIPTING
Text writing techniques for various audiovisual formats
Sound, audiovisual and multimedia script models and styles
AUDIOVISUAL NARRATIVE
Story building and content treatment
Creation and production processes in the organizational environment
SOUND CREATION
Sound language, montage and corporate formats
AUDIOVISUAL CREATION
Audiovisual language, editing and corporate fortmats
Project development
MESSAGE TESTING
Communicative efficacy, methods of validation and perception of stories and content
Surveys, focus groups, experiments
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.
Assessment
THE EVALUATION ACTIVITIES ARE:
- Activity A, THEORETICAL TESTS (PT): 30% on the final qualification
- Activity B, LABORATORY PRACTICES (PL): 40% on the final grade
- Activity C, COURSE WORK (TC): 20% on the final grade
- Activity D, INDIVIDUAL WORK (IT): 10% on the final grade
In order to pass the course, you must have a minimum grade of 5 in all activities. If any of the sections does not reach 5, the average will not be calculated and the subject will not be passed. However, students will be able to re-evaluate PTs, TCs or ITs.
The PLs will not be able to be re-evaluated as these are competencies and skills acquired throughout the course that cannot be assessed in a re-assessment test.
Recovery:
Students who have participated in the continuous assessment and who do not pass the PA, IT or TC, will be able to recover as long as they have obtained a minimum grade of 3.5 points in the activity they have suspended.
PAs are re-evaluated with a new PA. TC and IT will be re-evaluated by repeating the failed tests.
In the case of a second registration, students will be able to take a single synthesis test. The grade of the subject will correspond to the grade of the synthesis test.
Plagiarism:
The student who commits any irregularity (copy, plagiarism, impersonation ...) that may lead to a significant variation in the grade of an assessment act, will be graded with 0 this assessment act. In case of several irregularities, the final grade of the subject will be 0.
Bibliography
Basic Bibliografy:
Barroso, Jaime (1996). La realización de los géneros televisivos, Madrid: Síntesis.
Fernández, Federico y Martínez Abadía, José Luís (1999). Manual básico de lenguaje y narrativa audiovisual. Paidós.
Morales, Fernando (2013). Montaje audiovisual: teoría, técnica y métodos de control. UOC.
Sweetow, Stuart (2016). Corporate Video Production : Beyond the Board Room (and Out of the Bored Room) / Stuart Sweetow. Second edition. New York: Routledge
Complementary Bibliografy:
Balsebre, Armand; Mateu, Manel y Vidal, David (2008). La entrevista en radio, televisión y prensa, Madrid, Cátedra (2ª edició).
Blanch, Margarita; Lázaro, Patrícia (2010). Aula de locución. Madrid. Cátedra.
DiZazzo, R. (2012). Corporate media production. CRC Press.
Fog, Klaus; Budtz, Chistian y Yakaboylu, Baris (2005). Storytelling. Berlin: Springer.
García Jiménez, Jesús (1993). Narrativa audiovisual. Madrid: Ediciones Cátedra.
Guarinos, Virginia (2009). Manual de narrativa radiofónica, Madrid, Editorial Síntesis
Guisado Rodríguez, Ana María (2017). Storytelling: cómo contar historias ayuda a la estrategia de marketing.
Gutiérrez, María y Perona, Juanjo (2002). Teoría y técnica del lenguaje radiofónico, Bosch, Barcelona.
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
Huertas, Amparo y Perona, Juanjo (1999). Redacción y locución en medios audiovisuales: la radio. Barcelona, Bosch.
Lambert, J., & Hessler, B. (2018). Digital storytelling: Capturing lives, creating community. Routledge.
Lorán, María y Cano, Pablo (2017). LaComunicación audiovisual en la empresa: formatos, nuevas fórmulas y usos. Edit. UOC.
Marsh, Charles; Guth, David & Short, Boonie (2017). Strategic writing: Multimedia writing for public relations, advertising and more. Routledge.
Martínez-Costa y Herrera, Susana (2008). La crónica radiofónica, Instituto Oficial de Radio y Televisión, Madrid.
Mas, Lluís (2015). Discurso informativo 2.0.: La estructura formal, textual y oral de la noticia en el siglo XXI (Vol. 310). Editorial UOC.
Mayoral, Javier (coord.). Sapag, Pablo; Huerta, Armando y Díez, Francisco Javier (2008). Redacción periodística en televisión. Síntesis: Madrid.
Merayo Pérez, A. (1992). Para entender la radio. Estructura del proceso informativo radiofónico. Publicaciones, Universidad Pontificia de Salamanca.
Niqui, Cinto (2007). Disseny i creativitat sonora, Barcelona, Editorial UOC
Owens, Jim (2015). Television production. CRC Press.
Rodero, Emma y Soengas, Xose (2010) Ficción radiofónica: Cómo contar una historia en la radio. Madrid.
Rodero, Emma (2004). Producción radiofónica (Vol. 85). Anaya-Spain.
Rodero, Emma (2003). Locución radiofónica, Madrid.
Rodríguez, Ángel (1998). La dimensión sonora del lenguaje audiovisual. Barcelona. Paidós.
Salmon, Christian (2016). Storytelling: la máquina de fabricar historias y formatear las mentes. Península.
Sweetow, Stuart (2016). Corporate video production: Beyond the board room (and OUT of the bored room). CRC Press.
Vale, Eugene (1991). Técnicas del guion para cine y televisión. Barcelona, Editorial Gedisa.