Degree | Type | Year | Semester |
---|---|---|---|
2501928 Audiovisual Communication | OB | 3 | 2 |
To undertake this course a good level of English comprehension is required.
The general objective of the course is to develop theoretical and practical knowledge of the audiovisual programming models used by the main media platforms.
The specific objectives are the following:
The subject is articulated around the following major basic topics:
1. Introduction to audiovisual programming: concept, origin, functions and professional profiles.
2. Linear programming models: Content flows, programming strategies, public service and types of channels, services and platforms.
3. Models of programming of on-demand services: curation of catalogues, manual programming and algorithmic programming.
4. Personalization of contents and individualization of consumption: algorithms, manual editorialization and promotion strategies.
5. Programming trends: genres, forms of consumption and transnationalization of the offer.
The methodology of this subject includes theoretical classes in the classroom, analysis exercises and debates based on concrete experiences of monitoring the supply of audiovisual content.
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.
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 | |||
Seminars | 15 | 0.6 | 6, 1, 2, 4 |
Theoretical classes | 37.5 | 1.5 | 6, 1, 2, 4 |
Type: Supervised | |||
Tutorial | 7.5 | 0.3 | 2 |
Type: Autonomous | |||
Autonomous study | 40 | 1.6 | 1, 5, 4 |
Realization of work | 42.5 | 1.7 | 6, 1, 2, 5 |
The evaluation consists of three different activities:
Theoretical exam, 30% of the final grade
Final project (group activity), 50% of the final grade
Seminars, 20% of the final grade.
It is necessary to obtain a minimum grade of 5 in the three activities to pass the subject.
Students will be entitled to the revaluation of the subject if they have presented a minimum of activities that equals two-thirds of the total grading. To have access to revaluation, the average grade should be 3,5 or higher. Seminars (20% of the final grade) are excluded from the revaluation process.
In the event that the student performs any irregularity that may lead to a significant variation of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Seminars | 20% | 1.5 | 0.06 | 1, 2, 5, 3 |
Theoretical exam | 30% | 3 | 0.12 | 6, 1, 5 |
Work in group | 50% | 3 | 0.12 | 6, 1, 2, 4, 3 |
Arana, Edorta (2011). Estrategias de programación televisiva. Madrid: Síntesis
Clares-Gavilán, Judith & Medina Cambrón, Alfons (2018). Desarrollo y asentamiento del vídeo bajo demanda (VOD) en España: el caso de Filmin. Profesional De La información, 27(4), 909–920. https://doi.org/10.3145/epi.2018.jul.19
Contreras, José María & Palacio, Manuel (2000). La programación en televisión. Madrid: Síntesis.
Eastman, Susan & Ferguson, Douglas (2013). Media programming: strategies and practices. Berlmont: Wadsworth/Cengage Learning.
Izquierdo-Castillo, Jessica & Latorre-Lázaro, Teresa (2022). Oferta de contenidos de las plataformas audiovisuales. Hacia una necesaria conceptualización de la programación streaming. Profesional de la información, 31(2). https://doi.org/10.3145/epi.2022.mar.18
Lotz, Amanda (2018). We now disrupt this broadcast: How cable transformed Television and the Internet Revolutionized it all. The MIT Press.
Martí, Josep Maria (2016). 51 maneras de hacer buena radio. Barcelona: UOC.
Complementary References
Frey, Mattias (2021). Netflix Recommends. Algortihms, Film Choice and the History of Taste. University of California Press: Oakland, California.
Gutiérrez Lozano, Juan Francisco & Cuartero Naranjo, Antonio (2020). El auge de Twitch: nuevas ofertas audiovisuales y cambios del consumo televisivo entre la audienciajuvenil. Ámbitos: Revista internacional de comunicación, 50, 159-175. https://doi.org/10.12795/Ambitos.2020.i50.11
Herrero Subías, Mónica; Medina Laverón,Mercedes & Urgellés Molina, Alicia (2018). Los sistemas de recomendación online en el mercado audiovisual español: análisis comparativo entre Atresmdedia, Movistar+, y Netflix. UCJC Business and Society Review, 15 (4), 54-89. https://journals.ucjc.edu/ubr/article/view/3943
Martínez-Costa, María del Pilar; Elsa Moreno Moreno, & Josep Maria Martí (coords). (2004). Programación radiofónica: arte y técnica del diálogo entre la radio y su Barcelona: Ariel.
Navarro, Celina & Prado, Emili (2019). Television Buyers in the Digital Era: A Comparative Study of the UK and Spain. The international communication gazette, 81(6-8): 727–747. https://doi.org/10.1177/1748048518822612
During the course, complementary bibliography will be provided based on each topic.
This course does not need specific softwares for the development of the classes and assignments.