Theory of Audiovisual Genres
Code: 103069 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| Audiovisual Communication | OB | 2 |
Contact
- Name:
- Nuria Garcia Muņoz
- Email:
- nuria.garcia@uab.cat
Teaching groups languages
You can view this information at the end of this document.
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.
Learning Outcomes
- KM14 (Knowledge) To identify the functions and characteristics of composition and expression in the main audiovisual genres.
- SM14 (Skill) To demonstrate the skills necessary to create content adapted to each audiovisual genre.
- SM15 (Skill) To apply imagination and creativity in content creation.
Content
Approach to the theory of genre.
Genres in the audio-visual market, programming, and multi-platform.
Genres and audience identity.
Genres and formats.
Film genres.
The radio genres.
Television genres.
Advertising genres.
The interactive genres.
Fundamental features of the consolidated genres in the audio-visual context.
Genres in the process of creating audiovisual content.
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Practical | 22 | 0.88 | KM14, SM14, SM15, KM14 |
| Seminars | 15 | 0.6 | KM14, SM14, SM15, KM14 |
| Theoretical classes | 15 | 0.6 | KM14, SM14, SM15, KM14 |
| Type: Supervised | |||
| Tutorials | 10.5 | 0.42 | KM14, SM14, SM15, KM14 |
| Type: Autonomous | |||
| Autonomous work | 82.5 | 3.3 | KM14, SM14, SM15, KM14 |
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.
Should the teaching modality change for reasons of force majeure according to the competent authorities, the teaching staff 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 |
|---|---|---|---|---|
| Project and pitch | 40% | 1 | 0.04 | KM14, SM14, SM15 |
| Seminars and participation | 30% | 3 | 0.12 | KM14, SM14, SM15 |
| Theoretical exam | 30% | 1 | 0.04 | KM14, SM14, SM15 |
Continuous Assessment
The evaluation consists of three parts:
• Theoretical exam (30%).
• Project and pitch (40%).
• Seminars and participation (30%).
Only students with a minimum grade of 3 will be able to take the make-up tests for the theoretical exam.
Single evaluation
The evaluation consists of four 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 17th, 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) It is possible to recover the theory, if the student has taken the theoretical test and has obtained a grade higher than 3. The exam will consist of a written test to assess 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) It is possible to recover the theory, if the student has taken the theoretical test and has obtained a grade higher than 3. The exam will consist of a written testto assess theoretical knowledge.
AI
For this subject, the use of Artificial Intelligence (AI) technologies is permitted exclusively for tasks specified by the teaching team. Students must clearly identify any parts generated with these technologies, specify the tools used, and include a critical reflection on how AI has influenced the process and final outcome 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 cases.
Not assessable
Students who have completed less than 2/3 of the assessment activities will be considered “not assessable”.
Plagiarism
Suppose a student engages in any form of misconduct that could significantly affect the outcome of an assessment. In that case, they will receive a grade of zero for that particular assessment, regardless of any disciplinary actions that may follow. If multiple instances of misconduct are detected across different assessment components of the same course, the student will receive a final grade of zero for the entire subject
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.
Garcia-Muñoz, N.; Navarro, C.; Delgado, M. (2022). Representation of women and work in the most popular series in the UK and Spain, Revista de Investigaciones Feministas, 13(2), pp. 695-704.
http://dx.doi.org/10.5209/infe.79233
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, Celina, García-Muñoz, Nuria.& Delgado, Matilde (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. www.30PUBTV.com
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)
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 |
|---|---|---|---|---|
| (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 |