Theory of Audiovisual Genres
Code: 103069 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2501928 Audiovisual Communication | OB | 2 | 2 |
Contact
- Name:
- Nuria Garcia Muñoz
- Email:
- nuria.garcia@uab.cat
Teaching groups languages
You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.
Teachers
- Francisco Escribano Royo
Prerequisites
A good reading comprehension of English
Objectives and Contextualisation
This course is included in the subject of the degree History and Esthetics of Audio-visual Communication. This subject is formed by the following subjects of 6 ETCS credits each:
-Radio and television programming
-Television Genres
-Advertising Genres
-Film Genres
-Interactive Genres
Objectives
1. Know the basics of the main audiovisual genres, based on the origins, evolution, taxonomies, audiences, and audiovisual industry.
2. Understand the relationship between audiovisual genres and social, cultural, economic, and technological contexts, among others.
3. Understand the role of audiovisual references in the creation of content and the identities of audiences (local and global).
4. Describe and analyze audiovisual trends in relation to genres, content, and formats.
Competences
- Differentiate the discipline's main theories, fields, conceptual developments, as well as their value for professional practice.
- Disseminate the area's knowledge and innovations.
- Manage the different forms of audiovisual programming according to various audiovisual genres.
- Manage time effectively.
- Research, select and arrange in hierarchical order any kind of source and useful document to develop communication products.
- Use one's imagination with flexibility, originality and ease.
Learning Outcomes
- Apply theories learned to the analysis of the media reality and the development of audiovisual products.
- Disseminate the area's knowledge and innovations.
- Implement presentation, discursive and argumentative techniques to adapt them to audiovisual genres.
- Innovate by means of production and audiovisual programming.
- Manage time effectively.
- Promote innovations in product building.
- Research, select and arrange in hierarchical order any kind of source and useful document to develop communication products.
- Use one's imagination with flexibility, originality and ease.
Content
1. Genres in the audiovisual context.
1.1. Definitions and functions of genres.
1.2. Classification of audiovisual genres.
1.3. The hybridization of the genres.
1.4. Audiovisual genres and the cultural identities of audiences.
1.5. Film, radio, television, advertising, photographic, and interactive genres.
2. Genres, formats, and programming.
2.1. Genders in the public and private sphere.
2.2. Genres and formats in the audiovisual industry.
2.3. Cultural identities of the audiences.
2.4. Big data, products, and audiences of audiovisual genres
3. The informative genres.
3.1. Typologies of informative genres.
3.2. Characteristics of informative genres.
3.3. The documentary.
4. The genres of fiction.
4.1. Film genres.
4.1. Serial fiction.
5. Other genres of entertainment: game, humor,...
6. The hybridization of genres.
6.1. The genres of the Info-show.
6.2. The reality show, origin and evolution.
7. Advertising genres.
8. Interactive genres.
9. Trends in audiovisual genres: consolidations and survival of genres.
Methodology
The acquisition of knowledge by students will be carried out through different methodological procedures that include master classes in the classroom, exercises and debate from viewings and reading material.
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 | |||
| Practical | 22 | 0.88 | 7, 3, 4, 6 |
| Seminars | 15 | 0.6 | 1, 7, 3 |
| Theoretical classes | 15 | 0.6 | 1, 2, 4 |
| Type: Supervised | |||
| Tutorials | 10.5 | 0.42 | 8 |
| Type: Autonomous | |||
| Autonomous work | 82.5 | 3.3 | 8, 7, 5, 3 |
Assessment
Continuous Assessment
The evaluation consists of four different parts:
• Theoretical exam (40%).
• Final project (group activity) (30%). Pre-project for the creation of an audiovisual product.
• Pitch (10%).
• Seminars and participation (20%).
Students who have a minimum grade of 3 and less than 5 will be able to submit to the tests of recovery of the theoretical exam and the coursework.
Single evaluation
The evaluation consists of four different parts:
• Theoretical exam (40%). (The exam model is different from continuous assessment).
• Research and analysis work (30%). Analysis of the differences and similarities of five radio or television programs of different genres.
• Documentary research work (15%). Review of a minimum of four scientific articles on infotainment in Europe and the USA.
• Documented report on the evolution of advertising genres in the digital age, with samples of the different genres (15%).
The date of the theoretical exam and the delivery of the evaluable activities is June 19th, from 12 p.m. to 15 p.m.
Re-evaluation: Continuous Assessment
a) According to regulations, in order to participate in the catch-up process, students must have been previously assessed at least 2/3 of the total evaluable activities of the subject.
b) The theory can only be recovered if the student has obtained a grade lower than 5 in the exam. The examen will consist of a written test to evaluate theoretical knowledge.
Re-evaluation: Single evaluation
a) According to regulations, in order to participate in the catch-up process, students must have been previously assessed at least 2/3 of the total evaluable activities of the subject.
b) The theory can only be recovered if the student has obtained a grade lower than 5 in the exam. The examen will consist of a written test to evaluate theoretical knowledge.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Pitch | 10% | 1 | 0.04 | 8, 1, 7, 2, 3, 6 |
| Project | 30% | 1 | 0.04 | 1, 2, 5, 3, 4 |
| Seminars and participation | 20% | 2 | 0.08 | 1, 3, 4 |
| Theoretical exam | 40% | 1 | 0.04 | 1, 2, 5, 3 |
Bibliography
Allen, Robert C. y Gomery, Douglas (1995). Teoría y Práctica de la Historia del cine. Barcelona: Paidós.
Altman, Rick (2000). Los géneros cinematográficos. Barcelona: Paidós.
Atorresi, Ana (1999). Los géneros radiofónicos. Argentina: Colihue.
Bignell, Jonathan (2004). An introduction to Television Studies. London, Routledge.
Brants, Kees. (1998). ‘Who’s Afraid of Infotainment?’. European Journal of Communication 13 (3):315-335. https://doi.org/10.1177/0267323198013003002
Creeber, Glen (ed) (2001). The television genre book. London: British Films Institute.
García-Muñoz, Nuria & Larrègola, Gemma (2010). La TDT en Europa: modelos de programación (TDT in Europe: programming models). Telos, 84, 65-72. https://telos.fundaciontelefonica.com/archivo/autor/n%c3%baria-garc%c3%ada-mu%c3%b1oz/
Geraghty, Lincoln. i Jancovich, Marc (2008). The Shifting Definitions of Genre. North Carolina: McFarland.
Hill, Annette (2007). Restyling factual TV. London and New York: Routledge,
Mittell, Jason (2001). “A Cultural Approach to Television Genre Theory”. A Cinema Journal 40 (3), pp 3-23. https://www.jstor.org/stable/1350192
Navarro, C., García-Muñoz, N.& Delgado Reina, M. (2022). Local fiction series: the value of European Public Service Media (1990–2020). Media, Culture & Society, 44(6), 1074-1090. https://doi.org/10.1177/01634437211069972.
Neale, Steve (Ed.) (2002). Genre and contemporary Hollywood. London: British Films Institut.
Pastoriza, Francisco (1997). Perversiones televisivas. Una aproximación a los nuevos géneros audiovisuales. Madrid: IORTV.
Prado, Emili; Delgado, Matilde; García-Muñoz, Núria; Monclús, Belén; Navarro, Celina (2020). "General-television programming in Europe (UE5): Public versus commercial channels". El profesional de la información,v.29, n. 2, e290204. https://doi.org/10.3145/epi.2020.mar.04
Rausell Köster (2005). “Nuevos relatos audiovisuales. Hacia unadefinición del relato audiovisual interactivo”, a Telos 62.
Sánchez Noriega, Jose Luis (2005). Historia del Cine. Teoría y géneros cinematográficos, fotografía y televisión. Madrid: Alianza.
Silberblatt, Alec. (2007). Genre Studies in Mass Media. M.E. London: Sharpe.
Soengas, Xose (2003). Informativos radiofónicos. Madrid, Cátedra.
Links to the audiovisual content of each theme will be provided during the classes.
Software
Text Edition (Word o similar)
Presentations (Powerpoint o similar)
Spreadsheets (Excel o similar)