This version of the course guide is provisional until the period for editing the new course guides ends.

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Audiovisual Scripts for Non-Fiction

Code: 103064 ECTS Credits: 6
2024/2025
Degree Type Year
2501928 Audiovisual Communication OT 3
2501928 Audiovisual Communication OT 4

Contact

Name:
Luisa del Carmen Martínez García
Email:
luisa.martinez@uab.cat

Teaching groups languages

You can view this information at the end of this document.


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:


A) Know and understand the fundamental theoretical concepts for the creation of non-fiction scripts.

B) Relate and apply theoretical and practical concepts in the creation of non-fiction scripts in the field of audiovisual.
communication mainly.

C) Work on the production process of a non-fiction product.


Learning Outcomes

  1. CM02 (Competence) To create new ways of telling stories through audiovisual products based on a synthesis of the various narrative models.
  2. SM03 (Skill) To analyse the narrative of radio, audiovisual and transmedia products.
  3. SM04 (Skill) To identify the role of point of view and narrative perspective in audiovisual storytelling.
  4. SM04 (Skill) To identify the role of point of view and narrative perspective in audiovisual storytelling.
  5. SM05 (Skill) To properly structure audiovisual scripts (dramatic unit, conflict, time and space), with narrative resources and in-depth character and dialogue development.
  6. SM05 (Skill) To properly structure audiovisual scripts (dramatic unit, conflict, time and space), with narrative resources and in-depth character and dialogue development.

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:

1. The Basics: Nonfiction

1.1 Background of nonfiction

1.2 Alice Guy: the pioneer of cinema

2. Non-fiction and journalistic genres

2.1 Basic characteristics: news, interview and report

3. The documentary

3.1 The modes of representation of reality

3.2 Starting point: the idea in the documentary

3.3 Elements and structure of the documentary

4. Contemporary documentary

4.1 Essay cinema

4.2 Found footage

4.3 Webdoc

 

 

 


Activities and Methodology

Title Hours ECTS Learning Outcomes
Type: Directed      
Practices 22 0.88
Seminars 15 0.6
Theoretical classes 15 0.6
Type: Supervised      
Tutorial 7 0.28
Type: Autonomous      
Own study 40 1.6
Realization of the project 41 1.64

The agenda is organized by theoretical-practical components. The theoretical classes will provide a review of the journalistic genres present in the development of a non-fiction product and references, currents and audiovisual formats will be exposed in which the diversity and complexity of non-fiction narratives are expressed. The product that the students develop must reflect, on the one hand, the good use of journalistic practices (choice of a topic with a social impact, selection of reliable sources, journalistic treatment of the information) and, on the other, a creative narrative proposal. The seminars will mainly facilitate the analysis, reflection and debate around the processes of elaboration 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.


Assessment

Continous Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Active participation in practices and seminars 10% 4 0.16 SM03, SM04
Practices 40% 3 0.12 CM02, SM05
Theoretical examination 50% 3 0.12 SM03, SM04

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  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.

 

Important: This course offers the possibility of single assessment.

Single assessment

Students will be able to opt for the single evaluation as long as they notify the teacher of this in the first week of class. After this time, students will not be able to take advantage of this option.

Features of the single assessment:

  1. Exam: 50%
  2. Guion documental: 50%

To pass the subject, students must pass both tests.

Description of the Evaluation Tests

Exam: the test will include the theoretical concepts seen in class and will be held on December 12, 2024 (12 to 14 hrs.).

Documentary script

Write a short documentary script (15 min.) that contains at least the results of three interviews. This will be accompanied by a dossier that must include the following sections:

  1. Topic Description
  2. Logline
  3. Synopsis
  4. Format/genre
  5. Target (justified)
  6. Contextualization of the idea in the Catalan and/or Spanish market
  7. Innovative features compared to other similar products
  8. Literary script
  9. Appendices (transcript of the three interviews)

The documentary script and dossier willbe delivered on January 9, 2025.

 

 


Bibliography

Basic bibliography:

Barnouw, Erik. Documentary : A History of the Non-Fiction Film / Erik Barnouw. Revised ed. Oxford [etc: Oxford University Press, 1983. Print.

Bruzzi, Stella. New Documentary : A Critical Introduction / Stella Bruzzi. London ; Routledge, 2000. Print.

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.

Izquierdo-Castillo, Jessica, and Emma Torres-Romay. “Women in the Documentary Industry: Continuing Inequality in the Streaming Age.” El Profesional de la informacion. 32.1 (2022): 1–11. Web.

León, Bienvenido (2014). Nuevas miradas al documental / Bienvenido León, coordinador. Comunicación Social.

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

Nichols, Bill (1997): La representación de la realidad. Paidos, Barcelona.

Peña, Daniel (2016). "Diseño de guiones para audiovisual: ficción y documental" http://ilitia.cua.uam.mx:8080/jspui/handle/123456789/750

Porto Renó, Denis, Longhi, Raquel ., & Ruiz, Sandra (2022). Diversos géneros en la narrativa transmediática del documental 33 . COMUNICACIÓN. Revista Internacional De Comunicación Audiovisual, Publicidad Y Estudios Culturales, 1(10), 224–235. https://doi.org/10.12795/comunicacion.2012.v01.i10.19

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

Sellés-Quintana, Magdalena (2008). El documental. Barcelona, Editorial UOC. ISBN 9788497887465. Recuperado de https://openaccess.uoc.edu/handle/10609/111366?locale=es

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.

Lagos Labbé, Paola (2024). David Perlov. La imagen bisagra como pensamiento cinematográfico intersticial. Shangrila Ediciones.

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

Scholz, Anette; Álvarez, Marta; Binimelis Adell, Mar;  & Ortega Oroz, Elena (Eds.). (2021). Entrevistas con creadoras del cine español contemporáneo. Peter Lang.

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.

 

 

 


Software

Students will use audiovisual and soud editing.

The use of free software is recommended.

 

Language list

Name Group Language Semester Turn
(PLAB) Practical laboratories 41 Spanish first semester morning-mixed
(TE) Theory 4 Spanish first semester morning-mixed