General information

Subject type: Basic

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 6

Teaching staff: 

Ariadna Vazquez Garcia
Roger Gonzalez Merchant 

Teaching languages

  • Catalan

Classes will be held in Catalan. L'alumnat pot comunicar-se tant en català com en castellà durant les classes, de la mateixa manera que pot fer els treballs en qualsevol de les dues llengües. Linguistic correction is requested in all cases.


Specific skills
  • E14_Acquire knowledge of the history, aesthetics, evolution and dynamics of cinema, television, radio, press, Internet and video games, how to recognize aesthetics through viewing and analysis

Transversal competences
  • T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources


At present we are permanently surrounded by audiovisual messages of various kinds. In the “age of screens”, we receive these impulses through multiple channels and in the different facets of our lives, from professional to personal life. It is important, therefore, to reflect on the nature of these messages that affect our daily lives, as well as on the way they are organized and related, and on their origin and evolution.

This course will cover the historical, aesthetic and technological development of photography, cinema, radio, television and, more recently, the Internet and video games. We will look at their appearance and trajectory, the expressive characteristics of each of them and, as a consequence, what they have in common.

To achieve this, many examples of specific cases will help us, as well as other explanatory materials. It is important not only to know this route, but also to develop a critical thinking around works that will influence students when developing their own products throughout the degree. There will also be academic-style work to deepen the subject through active learning (which will serve to familiarize students with a way of working that will be requested during the degree) and will provide readings that provoke reflection.



Birth and beginnings of photography.

Expansion of photography in the nineteenth century. Pioneers and pioneers.

Photojournalism and photodocumentary.

Evolution during the XNUMXth and XNUMXst centuries. Some authors.



Pre-cinema and origins of cinema. Pioneers and pioneers.

Consolidation of storytelling and cinematic avant-garde.

Cinematic classicism. Genres and authors.

National cinematographies.

New cinemas and some personalities from the second half of the XNUMXth century.



Invention and beginnings of broadcasting.

Technical, programmatic and social evolution of the radio medium.

Radio in Spain and Catalonia throughout the s. XX.



Origins of television.

Technological, programmatic and social evolution of television.

Modernity of the television medium.

Television in Spain and Catalonia. Birth and evolution.



Origins and history of the Internet. Technological and social evolution of the network.

Video games: birth and history.

Evaluation system

First-time students must follow the continuous assessment and do all the activities described below (if an activity is not done or not delivered on time, the student will have a zero in it), and will apply the corresponding evaluation percentages:

Group activities:

  • Activity 1- Presentation on a relevant historical figure of the audiovisual: worth 10% of the grade (7% will come from the teaching staff and 3% from the co-assessment of the students). It is not recoverable.
  • Activity 2 - Visual constellation: it is worth 5% of the grade. It is not recoverable.
  • Activity 3 - Analysis work of one or more audiovisual works (joint work with the Language and audiovisual expression subject): 20% the written work (15% will come from the teaching staff and 5% from the co-evaluation of the students) and 5% the oral presentation.

Individual activities:

  • Activity 4 - Room sheet: it is worth 5% of the grade. It is not recoverable.
  • Activity 5 - Reading quiz: 5% of the grade (1% of each quiz taken, as there will be five in total). These quizzes are non-refundable and cannot be rescheduled.
  • Activity 6 - Final exam: worth 50% of the grade. You need to get at least a 5 to pass the subject (otherwise, the grade of the failed exam will be used as the final grade), and it can be recovered in the recovery period. To be able to choose to retake the test, the student must have taken the exam in the first call. 

Repeat students can choose to follow the continuous assessment and do all the assessable activities previously described, or opt for the single assessment modality which consists of doing the work of analyzing a work or program individually (30% of the final grade, non-refundable) and the exam (70% of the final grade, with the option of recovery as long as it has been presented at the first call). The exam must be passed in order to pass the subject and make an average with the work (otherwise, the exam grade will be used as the final grade). Students can only opt for this mode of assessment from the second registration onwards, and in the case of opting for this modality it is necessary to communicate this to the teaching staff of the subject during the first two weeks of the course.   

Rules for carrying out the activities

The activities will have to answer to the criteria indicated in class and / or to the statements of the same. Presentation and linguistic correction will be valued.

Papers submitted in previous courses, in whole or in part, may not be submitted.

The carrying out of the activities presupposes the commitment of the students to participate actively in the individual and group works.

Identification of plagiarism is considered a serious circumstance that may lead to a failing grade in the subject. In case of detection of plagiarism, the coordination of the degree will be informed so that the corresponding disciplinary measures can be taken.



Navalbos, Lourdes (1998). The effects of world war on the audience. Triggers of "radio panic". Semiosphere, 8, p. 119-137.

Postman, Neil (1993). The era of "show business". A: Let's have fun until we die. Index books, p. 107-125.

Sontag, Susan (2009). About photography. pocket


Freund, Gisele (1983). The first photographers A: Photography as a social document. Gustavo Gili.

VV. AA. (1995). General history of cinema. Chair.

Newhall, Beaumont (2008). History of photography. Gustavo Gili.

Sougez, Marie-Loup (1994). History of photography. chair

Donovan, Tristan (2018). Replay: The history of video games. Heroes of Paper

Pariser, Eli (2017). Content for relevance. A: The bubble filter. How the network decides what we read and what we think. Penguin Random House, p. 31-54.

Baget Herms, Josep Maria (1994). History of television in Catalonia. Generalitat de Catalunya, Communication Research Center.

Bonet, Montse (2005). Spanish radio 1994-2004. A decade of consolidation and disenchantment. Public Sphera, (5), 59-70.

Brinson, Susan (2005), From Marconi to Cop Rock. An introduction to Broadcasting history. A: Winn, Emmet & Brinson, Susan (eds), Transmitting the Past. Historial and Cultural Perspectives on Broadcasting. Tuscaloosa: The University of Alabama Press, p. 1-15. 

Bustamante, Enrique (2013). History of Radio and Television in Spain. A pending subject of democracy. Editorial Gedisa.

Rueda, José Carlos; Galán, Elena & Rubio, Ángel L. (2014). History of the media. Editorial Alliance.

Franquet, Rosa (2001). History of radio in Catalonia in the twentieth century: from galena radio to digital radio. Generalitat de Catalunya, Department of the Presidency, General Directorate of Broadcasting and Television.

Arboledas, Luis & Bonet, Montse (2014). The Radio in Spain: European Appearance, Franco's Legacy. Javnost-The Public, 21 (4): 67-82.

Camporesi, Valeria (2014). animated photos A new way of thinking about the world is born. A: Thinking about the history of cinema. chair

Moragas, Miquel de (2022). Communication and its changes. From the origins to the mobile. Global Village

Sousa, Jorge Pedro (2011). Critical history of Western photojournalism. Manganeses de la Lampreana, Zamora Comunicación Social.

Rosenberg, Alejandra (2016). About the Women Film Pioneers Project. Cinema Comparat / ive Cinema, vol. IV, num 8, p. 17-23.

Castells, Manuel (2001). The Internet Galaxy. Plaza&Janés.

Vázquez Montalbán, Manuel (1997). History and social communication. Critic.

Altés, Elvira (2021). Women on the air The history of radio in Catalonia in the voice of women. Peasant Editors

Domínguez, Vicente (coord.) (2007). Predator screens Cinema before digital visual culture. Editions of the University of Oviedo.