Audiovisual Scripts for Non-fiction
Code: 103064 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| Audiovisual Communication | OP | 3 |
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 sourceDa Vinci) 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
- CM02 (Competence) To create new ways of telling stories through audiovisual products by integrating the gender perspective based on a synthesis of the various narrative models.
- CM02 (Competence) To create new ways of telling stories through audiovisual products by integrating the gender perspective based on a synthesis of the various narrative models.
- SM03 (Skill) To analyse the narrative of radio, audiovisual and transmedia products.
- SM04 (Skill) To identify the role of point of view and narrative perspective in audiovisual storytelling.
- SM04 (Skill) To identify the role of point of view and narrative perspective in audiovisual storytelling.
- SM05 (Skill) To properly structure audiovisual scripts (dramatic unit, conflict, time and space), with narrative resources and in-depth character and dialogue development.
- 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: 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 Docudrama
4.3 Biopic
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Practices | 22 | 0.88 | CM02, SM05, CM02 |
| 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 | CM02, SM05, CM02 |
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.
A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students Will find all teaching materials and necessary information for eƯective course monitoring. Should the teaching modality change for reasons of force majeure according to the competent authorities, the teaching staƯ will inform students of any modifications to the course schedule and teaching methodologies.
The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
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 | 10% | 4 | 0.16 | CM02, SM05 |
| Practices | 40% | 18 | 0.72 | CM02, SM03, SM04, SM05 |
| Theoretical examination | 50% | 3 | 0.12 | CM02, SM03, SM04, SM05 |
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: 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 result of this activity must not represent the final grade. The practices are not recoverable.
Students will be entitled to reassessment in the course if they have been evaluated on a set of activities accounting for at least two-thirds of the total course grade.
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:
- Exam: 50%
- Guion documental: 40%
- Dossier: 10%
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 4, 2025 (12 to 14 hrs.).
Documentary script
Write a short documentary script (15 min.) that contains at least the results of three interviews.
Dossier
This will be accompanied by a dossier that must include the following sections:
- Topic Description
- Logline
- Synopsis
- Format/genre
- Target (justified)
- Contextualization of the idea in the Catalan and/or Spanish market
- Innovative features compared to other similar products
- Literary script
- Appendices (transcript of the three interviews)
The documentary script and dossier willbe delivered on January 11, 2026.
Non-Assessable
Following point 9 of Article 266 of the UAB Academic Regulations, if it is determined that the student has not provided sufficient evidence to be evaluated, the subject will be classified as non-assessable.
Artificial Intelligence (AI)
In this course, the use of Artificial Intelligence (AI) technologies is permitted as an integral part of assignment development, provided that the final outcome demonstrates a significant contribution from the student in terms of analysis and personal reflection. Students must clearly identify any content generated using AI, specify the tools employed, and include a critical reflection on how these technologies have influenced both the process and the final result of the assignment. Failure to disclose the use of AI in this assessed activity will be considered a breach of academic integrity and may result in a partial or total penalty to the assignment grade, or more serious sanctions in severe cas.
Bibliography
Bibliografía Básica:
Barnouw, Erik. (1983). *Documentary: A history of the non-fiction film* (Rev. ed.). Oxford University Press.
Bruzzi, Stella. (2000). *New documentary: A critical introduction*. Routledge.
Català Domènech, Josep M. (2000). *El film-ensayo: La didáctica como una actividad subversiva*.
Ebbrecht-Hartmann, Tobias, & Paget, Derek. (2016). *Docudrama on European television: A selective survey* (1st ed.). Palgrave Macmillan UK. https://doi.org/10.1057/978-1-137-49979-0
Gifreu, Arnau. (2015). Evolución del concepto de no ficción. *Obra Digital. Revista de Comunicación*, (9), 1–16. https://dialnet.unirioja.es/servlet/articulo?codigo=5287851
Halperín, Joaquín. (2008). *La entrevista periodística*. Aguilar.
Hayes, Joy Elizabeth. (2024). Rethinking docudrama and its origins from radio and film to streaming media. *Television & New Media, 25*(3), 215–233. https://doi.org/10.1177/15274764231213811
Herrera, Susana. (2007). La estructura del reportaje en radio. *Área Abierta*, (17). https://revistas.ucm.es/index.php/ARAB/article/view/ARAB0707110163A
Herrera, Susana. (2008). *Cómo elaborar reportajes en radio*. La Crujía.
Izquierdo-Castillo, Jessica, & Torres-Romay, Emma. (2022). Women in the documentary industry: Continuing inequality in the streaming age. *El Profesional de la Información, 32*(1), 1–11. https://doi.org/10.3145/epi.2023.ene.06
León, Bienvenido (Coord.). (2014). *Nuevas miradas al documental*. Comunicación Social.
Lipkin, Steven N. (2011). *Docudrama performs the past: Arenas of argument in films based on true stories*. Cambridge Scholars Publishing.
Mar, María del Mar, & Moreno Ruíz, Pablo. (2019). *‘News from Home’ de Chantal Akerman: El documental autobiográfico en el contexto del documental contemporáneo*. *Fonseca, Journal of Communication*, (18), 103–115. https://doi.org/10.14201/fjc201918103115
Míguez, Roberto. (2014). Ficción y no ficción en la cultura audiovisual digital. *Telos: Cuadernos de Comunicación e Innovación*, (99). https://bit.ly/2Smolp4
Monterrubio, Lourdes. (2019). Dispositivos de enunciación del film-ensayo español contemporáneo: Evolución de la subjetividad ensayística y su pensamiento en acto. *Studies in Spanish & Latin American Cinemas, 16*(3), 335–361. https://doi.org/10.1386/slac_00003_1
Nichols, Bill. (1997). *La representación de la realidad*. Paidós.
Paget, Derek. (2016). *No other way to tell it: Docudrama on film and television* (2nd ed.). Manchester University Press. https://doi.org/10.2307/j.ctv18b5j9c
Peña, Daniel. (2016). Diseño de guiones para audiovisual: Ficción y documental. http://ilitia.cua.uam.mx:8080/jspui/handle/123456789/750
Peydró, Guillermo G. (2015). Las variaciones *Guernica*: Film-ensayo sobre arte. En *No se está quieto* (pp. 265–275). Iberoamericana Vervuert.
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. (2021). Documental sonoro y arte radiofónico. *Historia y Comunicación Social, 26*(2), 441–451. https://doi.org/10.5209/hics.75797
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*. Editorial UOC. https://openaccess.uoc.edu/handle/10609/111366?locale=es
Silva Rodríguez, Manuel. (2024). El paso del ensayo literario y filosófico al ensayo audiovisual: Una aproximación desde la imagen y el montaje cinematográfico. *La Palabra*, (47). https://doi.org/10.19053/uptc.01218530.n47.2024.16492
Speer, Annika C. (2013). The feminist potential of docudrama: Destabilizing the primacy of primary sources through Paula Kamen’s *Jane*. *Frontiers (Boulder), 34*(3), 1–26. https://doi.org/10.1353/fro.2013.a530604
Vallejo, Aida. (2007). La estética (ir)realista. Paradojas de la representación documental. *DocOnline*, (2), 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. *Secuencias. Revista de Historia del Cine*, (27), 72–89. https://repositorio.uam.es/handle/10486/3946
Yáñez, María. (2012). El documental que viene nace de la web. http://antes.embed.at/article81.html
Bibliografia complementaria:
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
Groups and Languages
Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (PLAB) Practical laboratories | 41 | Spanish | first semester | morning-mixed |
| (TE) Theory | 4 | Spanish | first semester | morning-mixed |