104313 - CONTEMPORARY TELEVISION REALIZATION

Subject type: Mandatory

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 4

• Spanish
• Catalan

The theoretical sessions will be taught in Catalan. Les sessions pràctiques, en català i castellà.

The materials can be provided in Catalan as well as in Spanish or English.

Contemporary Television Production is part of the subject Image and independently complements the subject "Television" of the second year of the Degree in Audiovisual Media. The course aims to bring together thinking and praxis about television in different aspects such as politics, culture, sports, new audiences and the technological and social challenges facing contemporary television in Catalonia, Spain and the rest of the world.

The subject, based on the technical, narrative and teamwork knowledge already learned previously, raises the development of the critical spirit on television that is possible to produce today, in the midst of technological transformations and the need for a balance. between market, experimentation, innovation and cultural diversity.

The subject envisages, based on this knowledge of context, the development by groups of students of innovative and quality television format projects in practical sessions in which the ideation, production and realization of pilot programs will be carried out. in exteriors and, if necessary, in the equipment of set and control of the university.

CONTENT 1. History of Contemporary Television: From the social and political context to the possibilities of experimentation with the television archive.

Description

This module raises the social and historical context of television from its origin and the development of the principles of television as a public service. A first approach is sought to the possibilities of a television that from the university experiments with the possibilities of innovating in the medium.

1.1. The 3rd golden age of television (History, evolution and current affairs).

1.2. The uses of television (Social context).

1.3. Television and the archive (Open archive sources).

1.4. Experiments with television (Found footage-Video essay).

CONTENT 2. Screen cultures: Television and aesthetic innovation.

Description

2.1. Television, art and culture. The encounter of television with other forms of expression and artistic disciplines.

2.2. Literary and scientific programs.

2.3. Gender and multiculturalism.

2.4. Television as an artistic performance and video installation.

CONTENT 3. Political television, memory and proximity.

Description

3.1. Political television. Citizen participation, humor and political satire, television activism.

3.2. Relationships between television, history and memory.

3.3. Local television. Local and community media.

3.4. Global Proximity

CONTENT 4. Crossmedia, transmedia and cultural resistance.

Description

How to think and make contemporary television for a cross-platform, transmedia and changing environment?

4.1. Children's television as a source of narrative and formal innovation for new audiences.

4.2. Crossmedia and transmedia on quality television.

4.3. Connected television: present and future of transversal television social media (prosumers, communities and cultural resistance).

CONTENT 5. Programming and distribution of contents.

Description

5.1. Strategies for the production, programming and distribution of quality television in the digital environment.

5.2. The Miniput, learning about quality formats in contemporary television.

5.3. New perspectives, interfaces and technological applications of television: iptvs, HD, 4K, 3D and VR.

The subject starts with the desire to complete the vision on television and its communicative and social phenomenon; the learning, the evolution of the student and his creativity will be highly valued, but also the critical analytical capacity applied to a solid final project and with a will of innovation and excellence. The ability to work in a team, to help solve problems and to propose effective and realistic production strategies with the available resources are key factors in the assessment of practices.

The evaluation of the subject will have the separation between content and laboratory practice. The theoretical content will be assessed in a single exam and with continuous assessment activities (some face-to-face in class). The final exam will count for 30% of the overall grade of the subject, and it will be necessary to obtain a minimum grade of 5 out of 10 in its evaluation to be able to make an average with the rest of the subject's grades. Class activities and individual and group exercises (Miniput, presentation of the chosen format), therefore continuous work and attendance, will count for 20%.

The evaluation of the subject will also take into account the practical activities. In their set of evaluable tasks (tasks 1, 2, 3 and 4) they account for 20% in total.

Finally, and with the aim of evaluating in an evolutionary way the progress of the television process, activity 3 (Pitching of the television format worked on, which includes the elaboration and presentation of the final dossier of the television program format project as well as its programming strategies) has 30% of the value of the final grade of the subject.

Only the theoretical part can be recovered with a resit exam.

Students who do not participate in the practical part (collaborating properly and equitably with the rest of their classmates or producer) or who do not attend the mandatory minimum sessions, will get a 0, which will be listed as a No Presented (NP) . Likewise, those students who have suspended the internships will not be able to recover them.

If you have failed, but have a part of the subject passed, no notes will be saved from one year to the next. Whoever has suspended the theory will have to repeat the theory and practices the following year. The same will happen in case of suspending the internship: you will have to repeat both the internship and the theory throughout the next course.

About misspellings and proofreading.

En el context universitari i d'educació superior, la redacció i la qüestió formal en els documents lliurats en llengua catalana i castellana són objecte d'avaluació. Misspellings are penalized with 0,25 for foul, not counting duplications. Serious inaccuracies in the wording or impossibility in understanding the text can also be penalized, with no limit as to the note. The wording in English must be appropriate and correct, although specific errors will not be taken into account at the assessment level (not so repetition or serious errors).

About plagiarism.

It is the responsibility of the student to prevent plagiarism in all its forms. In the case of detecting a plagiarism, regardless of its scope, the deliverable in question and all the activity that is part of it will automatically have a grade of 0. In addition, the teacher will inform the Head of Studies the situation so that the applicable measures in the matter of sanctioning regime are taken.

Deliveries.

Papers submitted after the deadline will get a 0.

Abstract

Activity 1 - Tasks 1,2, 3 and 4: 20% (practice)

Activity 2 - Pitch and final dossier: 30% (practice)

Activity 3 - Presentation of chosen formats: 10% (theory)

Activity 4 - Miniput Exercise: 10% (theory)

Activity 5 - Final exam of the subject: 30% (theory)

Cassetti, Francesco and Di Chio, Federico. (1999). Analysis of television. paid 

Guardiola, Ingrid (2018). The eye and the razor. Arcadia

Clares-Gavilán, Judith (coord.). (2019). The revolution over the top. From video on demand (VOD) to internet television. UOC

López, Joan (2016). Talk about everything and know nothing. debate

Williams, Raymond (2005). Television: technology and cultural form. Routledge.

Tubella, Imma; Tabernero, Carlos and Dwyer, Vincent (2008). Internet and television: the war of the screens. Ariel (UOC).

De la Cueva, Cecilia (2007). Alternatives to current television. Gedisa

Kellner, Douglas (2011). Media culture: cultural studies, identity and politics between modernity and postmodernity. Akal.

Jenkins, Henry (2009). Fans, bloggers and video games: the culture of collaboration. paid

Hartley, John (2000). The uses of television. paid

Bonet, Eugene; Mercader, Antoni and Muntadas, Antoni (2010) Back to the video. University of the Basque Country

Martin, Jesus (2010). Television: a matter of spaces between proximity and distance. Notebook of the CAC (35), 5-11. https://www.cac.cat/sites/default/files/2019-02/Q35_Martin%20Barbero_ES.pdf

Hidalgo-Marí, Tatiana (coord.). (2018). Women and television. Gender and feminine discourses on the small screen. UOC

Scolari, Carlos (2013). Transmedia narratives: When all media count. god

Neira, Elena (2015). The other screen. Social networks, mobile phones and the new television. UOC

Lamelo, Carlos (2016). Social television and transmedia. New paradigms of television production and consumption. UOC

Valck, Marijke; Teurlings, Jan (2018). After the Break. Television Theory Today. Amsterdam University Press.