General information

Subject type: Optional

Coordinator: Jorge Oter Gonzalez

Trimester: Third term

Credits: 6

Teaching staff: 

Jorge Oter Gonzalez
Cristófol Casanovas Casanovas 

Teaching languages

  • Catalan
  • Spanish


Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E8_Design the lighting needs of a space according to its characteristics and the final purpose of the product to be recorded, photography or video

  • 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 about talking, analyzing, reflecting and experimenting on different topics related to night and night light, from different angles, especially cultural, focused on audiovisual tools: photography and cinema.

In this way, research is encouraged which, in the end, we want to bring us a new vision and new uses of the nocturnal, oriented towards a more conscious way of making images.



The contents of the subject are divided into two parts that will be taught interspersed:

Part 1: 

1.1. Aspects of Biology, Physiology, Psychology, Sociology and Architecture related to the night.

1.2 Actuality and technical aspects.

      1.2.1. Current and night photography and video. Topics and resources. Lightpainting.

      1.2.2. The American Night and Plato's Fictions: Diegetic Lights.

      1.2.3. The night light in music clips.

1.3 History of nocturnal representation in painting. The fire, the moon, and the night.

1.4 Night photography: Brassai, Weegee and W. O Link.

1.5 Art and experimentation.

Part 2:

2.1. The symbolic. A semiological approach to the symbolic construction of discourse. 2.2. The shadow. History and use of a figure.

2.3. Horror movies: Val Lewton. From generic keys to an authorial case.

2.4. The film noir. Visual style of the classic cycle.

2.5. Gothic in cinema. From literature to its embodiment in cinema.

2.6. American Gothic. Regional evolution of Gothic fashion.

2.7. The voyeur. Prohibited visual pleasure and representation in images.

2.8 Night and stars. Representations and relationships derived from the representation of the moon and celestial bodies.

2.9. Night and celebration. The night space as a festive platform.

Evaluation system

Continuous assessment (70%):

Laboratory practices (mandatory) 20%
Final work 20%
20% film analysis
Photographic story 10%

Final exam (30%):

30% exam

To access this weighting it is essential to have achieved an average of 5 in both the continuous assessment and the final exam. If the student has a lower average in one of the parts, he / she does not access this weighting and fails with the grade of the suspended part.

The part of continuous assessment is not recoverable.

The exam part is recoverable in the Recovery Exam. To access the weighted calculation of the grade it is necessary to get a grade of 5 in the recovery.

The statements of the different exercises will be provided throughout the course. These should provide for penalties for misspellings.

Failure to complete an exercise or non-compliance with the deadlines or forms established for its completion by teachers is a grade of zero.

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.



Keimig, Lance (2012). Night photography. Omega.

Casanovas, Cristófol (2013). Nocturnality in the lighting of current music videos [TFM, UOC].

Barreiro González, Mª Soliña (2011). The obsessive look: images of time in European avant-garde cinema of the 20s" [Doctoral thesis, Universidad Pompeu Fabra].

Calvillo Cortés, Amparo Berenice (2010). Light and Emotions: Study on the Influence of Urban Lighting on Emotions; taking as a basis the Emotional Design [Doctoral Thesis, UPC].

Tanizaki, Junichiro (2010). Praise of the Shadow Watercress

Castillo Martínez de Olcoz, Ignacio Javier (2005). The sense of light Ideas, myths and evolution of the arts and light shows up to cinema [Doctoral thesis, University of Barcelona].

Rubio, Mario (2014). The photographer at night. Mario Rubio.


Schrader, Paul (1972). Notes on Film Noir. Film Comment, 8(1), 8-13. [Spanish version:]

Barthes, Roland (1993). Elements of semiology. paid

Vieira, Mark A. (2019). Darkness, Darkness: The Films of Val Lewton: Looking Back at a B-Movie Master.

Baxter, Peter (1975). On the History and Ideology of Film. Lighting Screen, 16(3), 83-106.

Vernet, Marc (2009). Photo, painting, theater : night lighting à la Triangle. Cinemaarchives.

Alekan, Henri (1984). From lights and shadows. The Sycamore.

Shaeffer, Dennis, and Salvato, Larry (1992). Masters of light. Conversations with directors of photography. PLOT.

Cueto, Roberto (2010). What is Gothic? The adjective that became a gender. In Antonio José Navarro, Nightmares in the dark: Gothic horror cinema. Valdemar.

Navarro (Ed.), Nightmares in the Dark. Madrid: Valdemar.

VV. AA. (2009). the shadow Thyssen-Bornemisza.  

Metz, Ch. (2001). The imaginary signifier. Psychoanalysis and cinema. Barcelona: Paidós.

Gunning, Tom (2003). Loïe Fuller and the Art of Motion: Body, Light, Electricity, and the Origins of Cinema, in Richard Allen and Malcolm Turvey, Camera Obscura, Camera Lucida. Amsterdam University Press.