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General information

Subject type: Basic

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 6

Teaching staff: 

Jorge Oter Gonzalez
Antonio José Planells De La Maza 

Academic year: 2025

Teaching course: 2

Languages ​​of instruction

  • Spanish

The theoretical sessions will be taught in Spanish. The practical groups will be taught in Spanish or Catalan.

The subject's exercises can be done in both Spanish and Catalan (or in English, Erasmus students).

Competencies / Learning Outcomes

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

Presentation of the subject

The subject of Film Analysis is within the subject "History" and consists of thinking and applying textual analysis to audiovisual works (films, short films, series, etc.). The subject assumes acquired knowledge related to previous subjects in the subjects History, Communication, Artistic Expression, Image and Business, with which it is related: History of audiovisuals and video games, Language and audiovisual expression, Lighting, Graphic design, Screenplay audiovisual and audiovisual Production.  

The fundamental objective of the subject is to foster the critical capacity and analytical spirit of the students, so that they are able to recognize the various audiovisual and cultural codes present in both classical and contemporary works, and appreciate their functioning. Later, they will be able to apply their learning to their creations and other studies.

The classroom (physical or virtual) is a safe space, free of sexist, racist, homophobic, transphobic and discriminatory attitudes, either towards students or towards teachers. We trust that together we can create a safe space where we can make mistakes and learn without having to suffer prejudice from others.

Contents

Contents

Introduction: Analysis processes

  • On film analysis
  • Stages of the analysis

Related activities:

Practical Activities:

Activity 1: Segmentation

Activity 5: Analysis of a film

Theory activities:

Examen

 

Contextual analysis

  • Historical and production context
  • The film genre
  • Transtextuality
  • Themes

Related activities:

Practical Activities:

Activity 3: File and context

Activity 5: Analysis of a film

Theory activities:

Examen

 

Analysis of the narrative

  • Semiotic analysis of the narrative
  • Character analysis

Related activities:

Practical Activities:

Activity 2: Analysis of the narration

Activity 5: Analysis of a film

Theory activities:

Examen

 

Analysis of cinematographic language

  • Technological codes
  • Visual codes
  • Graphic codes
  • Sound codes
  • Syntactic or assembly codes

Related activities:

Practical Activities:

Activity 4: Language analysis 

Activity 5: Analysis of a film

Theory activities:

Examen

 

Analysis of communication: the narrator

  • The communicative framework
  • Narrator and focus

Practical Activities:

Activity 5: Analysis of a film

Theory activities:

Examen

 

Analysis of time and space

  • What space? what weather
  • Aspects of time: order, duration, frequency
  • Types of construction of time
  • The general space and the sub-spaces
  • Classifications of the space

Related activities:

Practical Activities:

Activity 5: Analysis of a film

Theory activities:

Examen

 

Recomposition and conclusions

  • recomposition
  • Validation of the analysis

Related activities:

Practical Activities:

Activity 5: Analysis of a film

Theory activities:

Examen

 

Additional resources:

During the course other resources may be provided to deepen topics and contents.

At the beginning of the course, the films that make up the compulsory filmography of the subject will be indicated.

Activities and evaluation system

The evaluation of the subject is divided into Practical Activities i Theory activities. 

Continuous assessment involves carrying out the activities detailed in this teaching guide during the course.

The continuous evaluation of the Practical Activities (50% of the final mark of the subject) is carried out through the following activities:

  • Activity 1: Segmentation (tracking)
  • Activity 2: Narrative analysis (follow-up)
  • Activity 3: Sheet and context (follow-up)
  • Activity 4: Language analysis (follow-up)
  • Activity 5: Analysis of a film (50% of the final grade)

It is mandatory to pass the practical part to enjoy the continuous assessment and pass the subject. Activities 1 to 4 are part of activity 5, the final activity.

The practical part includes monitoring activities, assessable activities and validation tests. In this subject, the use of artificial intelligence is not permitted in any way or case..

El Theoretical Content (50% of the final mark of the subject) is evaluated through the following activities:

  • Exam (50% of the final grade)

It is mandatory to pass the Exam to enjoy the continuous assessment and pass the subject.

To the recovery can recover theExamen. The continuing assessment portion is non-refundable.

 

Attendance is recommended, but not mandatory. It has no weight in the evaluation.

It is necessary to pass both the practical part and the exam to pass the subject.

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

Any form of academic fraud will be sanctioned in accordance with the center's assessment regulations. If signs of fraud are detected, including the improper use of generative artificial intelligence tools, the subject's teaching staff may call the student for an individual interview with the aim of verifying their authorship.

Bibliography

Basic

Aumont, Jacques, and Marie, Michel (1990). Analysis of the film. paid

Casetti, Francesco, and di Chio, Federico (1991). How to analyze a film. paid

Gaudreault, André, and Jost, François (1995). The cinematographic story. Cinema and narratology. paid

Complementary

Aumont, Jacques, Bergala, Alain, Marie, Michel and Vernet, Marc (2005). Cinema aesthetics. Film space, montage, narration, language. paid

Balló, Jordi, and Pérez, Xavier (1995). The Immortal Seed: Universal Arguments in Cinema. Empuriabrava 

Bazin, André (2004). What is cinema? Rialp

Bordwell, David, and Thompson, Kristin (1995). Cinematographic art: an introduction. paid

Cuevas, Efrén (1994). Notes on the "author theory" in audiovisual fiction. Communication & Society, 7(1). https://revistas.unav.edu/index.php/communication-and-society/article/view/35584/31211

Genette, Gérard (1989). palimpsests Literature in second grade. taurus

Gubern, Roman (2000). History of cinema. Lumen.

Neira Piñeiro, Mª del Rosario (2003). Introduction to filmic narrative discourse. Arco Books

Sánchez Noriega, José Luis (2006). History of cinema: cinematographic theory and genres, photography and television. alliance

Stam, Robert (2001). Film theories. An introduction. paid

Urrutia, Jorge (Ed. ) (1976). Contributions to the semiological analysis of the film. Fernando Torres. 

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

Xavier, Ismail (2008). The cinematographic discourse: opacity and transparency. spring

Zumalde, Imanol (2011). The film experience. Cinema, thought and emotion. chair

Zunzunegui, Santos (2007). About film analysis: the state of things. Communicate, 29(XV), 51-58. https://doi.org/10.3916/C29-2007-07