Degree | Type | Year |
---|---|---|
Audiovisual Communication | OB | 2 |
You can view this information at the end of this document.
The course doesn’t have specific prerequisites, but it is considered as a continuity of specialised subjects such as Written and audio-visual communication languages, Audio-visual narrative and Technologies in Audiovisual Communication.
The course is integrated into the topic “Audiovisual Language”. This topic in Audio-visual Communication degree provides advanced knowledges about expressive structures and audio-visual language uses to build messages in television, cinema, radio, multimedia and social media.
The course, within the training block, is aimed to provide the general concepts and the theoretical foundations for the creative conception and production of television and cinema products.
1.Production organization
2. Audiovisual language, interactive media and social networks
3. Mise-en-scène
4. Composition
5. Camera Movements and its functions
6. Editing, construction of discourse and narrative temporality
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Laboratory practices | 33 | 1.32 | |
Master Classes | 15 | 0.6 | |
Type: Supervised | |||
Tutorials | 7.5 | 0.3 | |
Type: Autonomous | |||
Readings, preparation of practices, preparation of tests | 87 | 3.48 |
The acquisition of knowledge will be done through various methodological procedures that include lectures and laboratory practices.
The methodology will project-based learning (PBL), which transversely will back all the training activities of the subject.
In the theoretical lectures, there will be an exposition of the contents of the course. As for the practices, they will be carried out in groups at the university television studios and in editing rooms. These practices will aid to apply into real cases what was learned in the previous theoretical sessions. The design and practices preparation and the different related documents are part of the autonomous work of the students.
An exam will be applied with the aim of knowing the degree of theoretical knowledge achieved, as well as the ability to apply this knowledge.
Students will be able to take optional tutorials sessions with teachers.
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 Campus Virtual (Virtual Campus), where students will find all teaching materials and necessary information for efective course monitoring. 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.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Laboratory practices | 40% | 4 | 0.16 | CM11, SM16, SM17 |
Practices reports and production documents | 30% | 1 | 0.04 | CM11, CM12, CM13, KM17, KM18, SM16, SM17 |
Written exam | 30% | 2.5 | 0.1 | CM13, KM17, KM18 |
There will be three types of assessment: A) written examination, B) laboratory practices and C) practices’ reports and production documents.
THE EVALUATION ACTIVITIES ARE:
A) Written exam, 30% in the final grade.
Project-based learning (PBL) will be implemented, which consists of the design, preparation and elaboration of an audiovisual project with several deliveries from different parts of the project with feedback and the possibility of improving these deliveries. This project will be developed throughout the course through various evaluable activities of analysis and audiovisual creation that consist of:
B) Laboratory practices, 40% in the final grade.
C) Practical activities’ reports, production documents, 30% in the final grade.
Students need to be evaluated on the different parts of the course to get a final grade. The final grade will be the result of the weighted sum of the partial grades.
No average mark will be made if the grade of any evaluation activity is lower than 5.
Single-assessment system
This course does not provide for a single-assessment system.
Re-evaluation
Students will be entitled to the re-evaluation of the subject. They should present a minimum of activities that equals two-thirds of the total grading.
The practices are excluded from the re-evaluation process (competencies and skills not acquired throughout the course can hardly be achieved in a couple of weeks).
Students who have participated in the ordinary evaluation and fail may recover the grade ifthey have obtained a minimum grade of 3.5.
Even if the students achieve a mark higher than 7 in a re-evaluation activity, their maximum mark in this activity will be a 7.
Second Enrolment
In the case of a second enrollment, students may take a synthesis exam/assignment consisting of two parts: 1) an individual written exam with theoretical and practical questions, 2) and the submission of two audiovisual products, which will be previously assigned by the professor and must be submitted on the same day as the written exam. The final grade for the course will correspond to the grade obtained in the synthesis exam/assignment.
Not assessable
In this course, a student will be graded as not assessable if they do not attend or complete any of the scheduled assessment activities on the dates indicated in the course calendar, without a duly justified reason (such as illness with a medical certificate, the death of a close family member, a court summons, or other similar situations properly documented).
Plagiarism
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
Artificial Intelligence
For this course, the use of artificial intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic or information searches, proofreading, or drafting texts that will later be edited and improved by the student. The use of AI-generated audio and video is also allowed in non-significant parts of audiovisual projects, such as visual or sound transitions, decorative elements, or representations of situations that would be difficult to record without advanced audiovisual resources. These materials must not replace the main content or the student’s analytical contributions, and students must ensure they hold the rights to use them and comply with current intellectual property regulations. Students must clearly identify which parts have been generated using this technology, specify the tools used, and include a critical reflection on how these tools influenced the process and final outcome of the activity. Lack of transparency in the use of AI in this graded activity will be considered academic dishonesty and may result in a partial or total penalty in the grade, or more serious sanctions in severe cases.
Mandatory Bibliography
- Cancho García, Nuria E. and García Torres, Marco A. 2018. Planificación de proyectos audiovisuales. Publicaciones Altaria: Barcelona. (Cap 3, 4, 6)
- Castillo, José María. 2016. Televisión, realización y lenguaje audiovisual. Madrid: Instituto RTVE.(Cap 1, 5, 7, 10, 12)
- Clayton, Rafe. 2019. Filmmaking Theory for Vertical Video Production. En The European Conference on Media, Communication & Film. The International Academic Forum. Disponible en: http://papers.iafor.org/wp-content/uploads/papers/euromedia2019/EuroMedia2019_52556.pdf
- Consell de l’Audiovisual de Catalunya. 2019. Recomanacions per a una publicitat igualitària: Els beneficis d’incloure la perspectiva de gènere en la comunicació publicitària Disponible enhttps://www.cac.cat/sites/default/files/2019-07/Recomanacions_publicitat_igualitaria_CA.pdf
- Consell de l’Audiovisual de Catalunya. 2013. Superar els estereotips en els mitjans de comunicació audiovisual: Recomanacions. Disponible en: https://www.cac.cat/sites/default/files/2018-04/Superar_estereotips.pdf
- Fernández Díez, Federico and Martínez Abadia, José. 2018. Manual básico de lenguaje y narrativa audiovisual. Barcelona: Ed. Paidos (Cap. 3, 6, 13, 15)
- Navarro-Güere, Héctor. 2023. El vídeo en formato vertical. Una revisión de la literatura en comunicación. Revista Mediterránea de Comunicación/Mediterranean Journal of Communication, 14(1), 69-81. https://www.doi.org/10.14198/MEDCOM.23028
- Nielsen, Jakob Isak. 2007. Camera Movement in Narrative Cinema-Towards a Taxonomy of Functions [Tesis doctoral, Aarhus Universitet]. https://pure.au.dk/portal/en/publications-research/camera-movement-in-narrative-cinema(2db25920-e87a-11dd-8f9a-000ea68e967b).html
- Poell, Thomas, David B. Nieborg, and Brooke Erin Duffy. 2022. Platforms and cultural production. Cambridge: Polity
- Ross, Miriam. 2020. Reconfigurations of Screen Borders: The New or Not-So-New Aspect Ratio. InSusanne Ø. Sæther y Synne T. Bull (eds), Screen Space Reconfigured (pp.105-126).Amsterdam: Amsterdam University Press
- Rozados, Andrés, Calvete-Lorenzo, Sara and Sosa-Fernández, Rocío del Pilar. 2024. Producciones audio-visuales en formato vertical: el caso de Snap Originals. El consumo de ficción en 9:16. Palabra Clave, 26(4), e2646. https://doi.org/10.5294/pacla.2023.26.4.6
- Sued, Gabriela. E. (2022). Culturas algorítmicas: Conceptos y métodos para su estudio social. Revista Mexicana de Ciencias Políticas y Sociales, 67(246). https://doi.org/10.22201/fcpys.2448492xe.2022.246.78422
Complementary Bibliography
- Barroso, Jaime. 2008. Realización audiovisual. Madrid: Ed. Síntesis
- Bestard, María Luciano. 2011. Realización audiovisual. Barcelona: UOC
- Bordwell, David. and Thompson, Kristin. 1995. El arte cinematográfico. Barcelona: Ed. Paidós.
- Cury, Ivan. 2009. Dirección y producción en televisión. Un enfoque basado en el formato. Andoain: Escuela de Cine y Video
- Millerson, Gerald. 2009. Realización y producción en televisión. Barcelona: Ed. Omega
- Morales, Fernando. 2013. Montaje audiovisual. Teoría, técnica y métodos de control. Barcelona: Ed. UOC
- Quintana, Ángel. 2011. Después del cine. Imagen y realidad en la era digital. Barcelona, Acantilado
- Sánchez,José. 2016. Poéticas del entretenimiento: imagen, movimiento y narración en el cine de Steven Spielberg. Available: https://eprints.ucm.es/id/eprint/39200/1/T37797.pdf
- Scheleser, Max. 2021. Smartphone Filmmaking:Theory and Practice. New York: Bloomsbury Academic.
- Scolari, Carlos A. 2013.Narrativas Transmedia: Cuando todos los medios cuentan. Barcelona: Deusto
Da Vinci Resolve or Similar Video Editing Software
It is recommended to consult the tutorials published on the Faculty's website: https: //www.uab.cat/web/coneix-la-facultat/serveis-de-la-facultat/laboratoris-audiovisuals/tutorials-videos-laboratoris-audiovisuals -fcc-1345828154136.html
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 | Catalan/Spanish | first semester | morning-mixed |
(PLAB) Practical laboratories | 42 | Catalan/Spanish | first semester | morning-mixed |
(PLAB) Practical laboratories | 43 | Catalan/Spanish | first semester | morning-mixed |
(TE) Theory | 4 | Spanish | first semester | morning-mixed |