General information

Subject type: Basic

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 6

Teaching staff: 

Aina Fernández Aragonés

Teaching languages

  • Catalan


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


This subject is part of the field of Communication of the Degree in Audiovisual Media. It is proposed as an introductory approach to audiovisual language and its descriptive, narrative and expressive use, both in terms of the elements of image and sound language, with the aim of offering an overview of the basic elements that they make up audiovisual communication and its new expressions as a result of the digitization process. Thus, a global overview of television language, internet languages ​​and new media is included. 



Block 1. Fundamentals of audiovisual language

  1. Audiovisual language
  2. Morphological aspects of audiovisual language
  3. Syntactic aspects of audiovisual language
    3.1. The composition of the image
    3.2. The creation of space
  4. The role of sound in the audiovisual
    4.1. Typology of sounds
    4.2. Diegetic and non-diegetic sound. sound in, So off i know over
  5. Semantic aspects: audiovisual discourse in editing
    5.1. Narrative units
    5.2. Continuity
    5.3. Continuity in the displacement of a subject: the axis of action
    5.4. Editing and editing
    5.5. The creation of time


Block 2. Expression of audiovisual language

  1. Television language.
  2. Language and digital convergence.
  3. Transmedia narratives
  4. Audiovisual language and the real world.
  5. Debates on society and audiovisual language


Evaluation system

The evaluation system clearly differentiates two parts: the theoretical part and the part corresponding to the activities of continuous evaluation.

The theoretical part, corresponding to 50% of the mark (15% of the partial exam and 35% of the final exam) must have a weighted average equal to or higher than 5 in order to pass the subject. Otherwise, and regardless of the continuous assessment mark, the student will fail the course.

The part of continuous evaluation activities consists of 50% of the final evaluation, with the weighting of the following elements:

Activity 1: 10%

Activity 2: 10%

Activity 4: 15%+5%+5%

Activity 5: 5%

Due to the nature of the subject, spelling and syntax in written expression are assessable, so misspellings and syntax will be penalized by subtracting 0,25 points each.

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.


Recovery: Students who have not passed the theoretical part can access recovery. The continuous assessment is not recoverable, so the resit exam will continue to average with the mark of the continuous assessment, and this weighting must exceed 5.


Students who repeat the subject

Students who repeat the subject can take another assessment modality, where:

  •  The theoretical part will correspond to 60% of the grade (20% of the partial exam and 40% of the final exam) must have a weighted average equal to or higher than 5 in order to pass the subject.
  • The continuous assessment activities can be replaced by activity 4, which is worth 40% of the final mark of the subject and without an oral presentation. This activity, if this modality is accepted, must be carried out individually.



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Gaylor, Brett (director) (2015). Do not Track [interactive documentary]. Canada: National Film Board of Canada.

Gamze Ergüven, Deniz (director) (2015). Mustang [Filmstrip]. France, Germany, Turkey and Qatar.

Bourdieu, Pierre (2001). About television. Barcelona: Anagram.

Astudillo, Carolina (director) (2018). Ainoa, yo no soy esa [film]. Spain

Kalinak, Kathryn (2010). Film Music. A Very Short Introduction. New York: Oxford University Press

Fernandez Díez, F; Martínez Abadía, J. (1999). Basic manual of language and audiovisual narrative. Barcelona: Paidós.

Jenkins, H. (2008). Convergence Culture. The culture of convergence in the media. Barcelona: Paidós.

Alberich, J .; Roig, A. (et al) (2011). Digital audiovisual communication: new media, new uses, new forms. Barcelona: Ed. UOC

Coppola, FF (director and producer) (1979). Apocalypse Now [film]. United States: American Zoetrope.

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Medem, Julio (director) (1998). Polar circle lovers [film]. Spain: Canal +.

Sontag, Susan (2009). About photography. Barcelona: Debolsillo. 

Fontcuberta, Joan (2016). The fury of images. Notes on post photography. Barcelona: Gutenberg Galaxy. 

Guardiola, Ingrid (2018). The Eye and the Razor: An Essay on the World as Interface. Barcelona: Arcadia.


Carlsson, Sven E. (nd). Retrieved July 21, 2022, from

DAVIS, Richard (1999): Complete Guide to Film Scoring. Boston: Berklee Press.

Scolari, C (2013). Transmedia narratives. When all the media count. Bilbao: Deusto.

Eisenstein, S. (director) (1925). The battleship Potemkin [film]. Soviet Union: Mosfilm.

Kubrick, Stanley (director) (1980). The Shining [film]. United Kingdom, United States: Hawk Films.