Audiovisual Programming
Code: 105006 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 2501928 Audiovisual Communication | OB | 3 |
Contact
- Name:
- Celina Navarro Bosch
- Email:
- celina.navarro@uab.cat
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
To undertake this course, it is necessary to have achieved the content and competencies of the Audiovisual Genres Theory course. In addition, a good reading comprehension of English is required.
Objectives and Contextualisation
The course is integrated into the "Audiovisual Genres” area, which trains students in learning the narrative production routines of messages based on audiovisual genres and the analysis of scheduling strategies.
The specific objective of the course is for students to acquire theoretical and analytical knowledge about the models of audiovisual scheduling in the main broadcasting and ondemand channels, as well as the dynamics of their constant evolution. This will allow them to understand the programming strategies, the factors that condition them, and their impact on the current audiovisual industry.
Learning Outcomes
- CM10 (Competence) To programme the different modes of audiovisual programming based on the various audiovisual genres.
- KM16 (Knowledge) To identify the criteria that audiovisual operators use to organise projects.
Content
The subject is articulated around the following topics:
TOPIC 1 – Introduction to audiovisual scheduling
1.1. Definition and scope of audiovisual scheduling
1.2. History of audiovisual scheduling
1.3. Professional profile of the scheduler
1.4. Audience research
TOPIC 2 – Linear programming
2.1. Time slots and linear flow and continuity
2.2. Models of linear television scheduling
2.3. Models of linear radio scheduling
2.4. Linear audience indexes
TOPIC 3 – Programming on demand
3.1. The power of the platform (content and consumers)
3.2. On-demand programming models
3.3. Flow and continuity in on-demand programming (manual and algorithmic programming)
3.4. On-demand audiences
TOPIC 4 – Scheduling genres and trends
4.1. Scheduling genres and strategies
4.2. Trends and diversity in scheduling
TOPIC 5 – Distribution and circulation of contents
5.1. Exhibition windows
5.2. Localization and circulation of content
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Masterclasses | 18 | 0.72 | CM10, KM16 |
| Project classes | 21 | 0.84 | CM10, KM16 |
| Seminars: current affairs debates, reflective exercises, and research activities | 12 | 0.48 | KM16 |
| Type: Supervised | |||
| Tutorial | 7.5 | 0.3 | KM16 |
| Type: Autonomous | |||
| Autonomous study | 40 | 1.6 | CM10, KM16 |
| Realization of work | 42.5 | 1.7 | CM10, KM16 |
The methodology of this subject includes theoretical classes, analysis exercises (seminars) and research activities on audiovisual content schedules and audiences (group project).
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 course.
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 |
|---|---|---|---|---|
| Seminars | 30% | 3 | 0.12 | CM10, KM16 |
| Theoretical exam | 30% | 3 | 0.12 | KM16 |
| Work in group | 50% | 3 | 0.12 | CM10 |
CONTINUOUS ASSESSMENT
The continuous assessment of the course is based on the following percentages:
A) Theoretical test, 30% of the final grade
B) Seminars, 20% of the final grade
C) Group work, 50% of the final grade
A (30%) + B (20%) + C (50%) = 100% FINAL GRADE OF THE COURSE
SINGLE ASSESSMENT
The single assessment system of the course is based on the following percentages:
A) Theoretical test, 40% of the final grade (the model and day of the exam will be different from that of continuous assessment)
B) Critical reflection dissertesion on a audiovisual scheduling current topic, 20% of the final grade
C) Report analysis, 40% of the final grade
A (40%) + B (20%) + C (40%) = 100% FINAL GRADE OF THE COURSE
REAVALUATION CONTINUOUS ASSESSMENT
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 (30% 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.
REAVALUATION SINGLE ASSESMENT
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. The critical reflection dissertesion (20% of the final grade) is 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.
Bibliography
Basic References
Arana, Edorta (2011). Estrategias de programación televisiva. Síntesis
Bonet, Montse & Sellas, Toni (2019). Del flujo al stock: El programador radiofónico ante la gestión del catálogo digital. Profesional de la información, 28(1), e280109. https://doi.org//10.3145/epi.2019.ene.09
Bruun, Hanne (2020). Re-scheduling television in the digital era. Routledge.
Contreras, José María & Palacio, Manuel (2001). La programación en televisión. Síntesis.
Eastman, Susan & Ferguson, Douglas (2013). Media programming: strategies and practices. Berlmont: Wadsworth/Cengage Learning.
Huertas Bailén, Amparo (2015). Yo soy audiencia: ciudadanía, público y mercado. Editorial UOC.
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
Martí, Josep Maria (2016). 51 maneras de hacer buena radio. Editorial UOC.
Neira, Elena, Clares-Gavilán, Judith & Sánchez Navarro, Jordi (2024). Las claves del éxito en streaming: Una aproximación teórico-práctica a la medición del impacto de los contenidos bajo demanda en las plataformas SVOD. VISUAL REVIEW: Revista Internacional de Cultura Visual, 16(Extra 3), 9. https://doi.org/10.62161/revvisual.v16.5233
Complementary References
Balló, Jordi y Oliva, Mercè (2024). La imagen incesante: Anatomía de los formatos audiovisuales. Llibres Anagrama.
Frey, Mattias (2021). Netflix Recommends. Algortihms, Film Choice and the History of Taste. University of California Press.
Gallego Pérez, J. Ignacio. (2010). Podcasting: Nuevos modelos de distribución y negocio para los contenidos sonoros. Editorial UOC.
Herbera, Joan, Linares, Rafael & Neira, Elena (2015). Marketing cinematográfico: cómo promocionar una película en elentorno digital. Editorial UOC.
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
Huertas Bailén, Amparo; Cogo, Denise; Peres-Neto, Luiz; Almeida, Gabriela M.; Navarro, Celina & Camargo, Julia (2023). Ideas para abordar la comunicación inclusiva en los estudios universitarios de comunicación. Universitat Autònoma de Barcelona. Institut de la Comunicació.
Kelly, John Paul (2019). Television by the numbers: The challenges of audience measurement in the age of BigData. Convergence-the International Journal of Research into New Media Technologies, 25(1), 113-132.DOI:10.1177/1354856517700854
Martí, Josep Maria (2000). De la idea a l'antena. Tècniques de programació radiofónica. Pòrtic.
Martínez-Costa, María del Pilar & Moreno Moreno, Elsa (coords.) (2004). Programación radiofónica: arte y técnica del diálogo entre la radio y su audiencia. Servicio de Publicaciones. Universidad de Navarra.
Masanet, María José (2016). Pervivencia de los estereotipos de género en los hábitos de consumo mediático delos adolescentes: Drama para las chicas y humor para los chicos. Cuadernos.info, 39, 39-53. http://dx.doi.org/10.7764/cdi.39.1027.
Navarro, C., & Monclús, B. (2021). The curation of European Netflix catalogues on social media: The key role of transnational and local cultural traits. Critical Studies in Television, 16(4), 347-374. https://doi.org/10.1177/17496020211044444
Software
This course does not need specific softwares for the development of the classes.
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (SEM) Seminars | 41 | Catalan | second semester | morning-mixed |
| (SEM) Seminars | 42 | Catalan | second semester | morning-mixed |
| (SEM) Seminars | 43 | Catalan | second semester | morning-mixed |
| (TE) Theory | 4 | Catalan | second semester | morning-mixed |