General information


Subject type: Basic

Coordinator: Maddalena Fedele

Trimester: First term

Credits: 6

Teaching staff: 

Aina Fernandez Aragonés
Jordi Roque Gonzalez 

Skills


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

Description


This subject is presented as an introduction to the world of audiovisual expression in a broad sense. From the most consolidated aspects of audiovisual language to the introductory exploration of new languages ​​and media. 

Learning outcomes


At the end of the course the student must be able to:

  • Know and recognize the elements that make audiovisual communication possible.
  • Know the techniques to achieve full audiovisual communication.
  • Know the basic characteristics of the different audiovisual media.
  • Develop a critical and analytical discourse on contemporary audiovisual trends.

Working methodology


The subject consists essentially of theoretical sessions of large group and seminar sessions, of medium group. However, work will be done in small groups and classroom activities will be encouraged as part of the learning process, as well as the search for information and subsequent presentation by the groups.

Contents


1. Fundamentals of audiovisual language

1.1. The audiovisual language

1.2. Morphological aspects of audiovisual language

1.3. Syntactic aspects of audiovisual language

1.3.1. The composition of the image

1.3.2. The creation of space

1.4. Semantic aspects: audiovisual discourse in editing

1.4.1. Narrative units

1.4.2. Continuity

1.4.3. Continuity in the displacement of a subject: the axis of action

1.4.4. Editing and editing

1.4.5. The creation of time

 

2. The role of sound in the audiovisual

2.1 Historical approach

2.2 Theoretical approach. Basic concepts

2.2.1 Diegetic and extra diegetic sound

2.2.2 Synchronous and asynchronous sound

2.2.3 The acoustic theory. Sounds on-screen and off-screen

2.2.4 Musical form and audiovisual narrative

2.3 Introduction to the semiotics of sound in the audiovisual. Analytical strategies:

2.3.1 Factors of sound communication

2.3.2 The musical / sound meaning as a cultural pact

2.3.2.1 Moles

2.3.2.2 Intertextuality

2.3.2.3 Functions of film music (not exclusive to cinema) 

2.3.3 The perspective of Michel Chion 

2.3.4 The perspective of Nicholas Cook 

2.3.5 Philip Tagg's analytical model

3. Expression of audiovisual language

3.1 The language of television. From paleotelevision to hypertelevision.

3.2 The audiovisual language on the internet. 

3.3 Audiovisual language and the real world. 

4. Debates on society and audiovisual language

Learning activities


Activity 1. The creation of the space

General description: The activity consists of making an audiovisual piece, in groups, lasting 3 minutes, where from a simple story (invented or not) a non-real space is built from the assembly.

Support material: Camera, tripod, memory card, batteries.

Deliverable and links with the evaluation: The audiovisual piece must be delivered in a compressed and standard format (mp4, mov). This activity will account for 10% of the final grade of the course.

Specific objectives: At the end of the activity the student must be able to:

Know how to correctly apply audiovisual language in the production of meaning.
Know how to build fictional spaces based on the structuring of audiovisual language.


Activity 2. Analysis of the functions of film music

General description: Elaboration of a queue list accompanied by a video with an analytical description of the role of sound in an audiovisual product (cinema or commercial). The work will be done in groups of three and can optionally be broadcast in class.

Deliverable and links to the evaluation: A pdf file must be delivered to the eCampus-enabled mailbox. The pdf will contain the queue list and a link to the video file.

10% of the final grade.

Specific objectives: At the end of the activity the student must be able to:

  • Know and be able to apply the main methodologies of analysis on the sound in the audiovisual.
  • Identify the sound, symbolic, expressive and structural resources used in music in different areas of the audiovisual such as cinema, television, advertising, video or video games.


Activity 3. Analysis of an audiovisual work

General description: The activity consists of the analysis of an audiovisual work or a cinematographic or television genre. This is a theoretical work, in groups, where all the content related to the subject of the subject of Audiovisual Language and History of Audiovisual Media must be analyzed: use of audiovisual language, genre, format, context historical, etc.

Deliverable and links with the evaluation: The work must be submitted in written and digital format (pdf). A public oral presentation is also required. This activity will suppose 20% of the final note of the asignatura, of which:

15% of the final grade will be the written work
5% of the final grade will be from the public oral presentation
Specific objectives: At the end of the activity the student must be able to:

Structure and write correctly the ideas to be presented.
Present publicly and present the work done.
Elaborate a coherent, interdisciplinary and original discourse on a content of the audiovisual world, in any of its historical moments.



Activity 4. Debate

General description: The activity consists of preparing, in groups, the presentation and defense of one of the positions raised in the emerging debates in the audiovisual sector.

Deliverable and links to the evaluation: A brief summary of the proposed presentation must be submitted. This activity will account for 5% of the final grade of the course. of which:

Specific objectives: At the end of the activity the student must be able to:

Know how to gather relevant information on a topic of interest and current affairs.
Know how to present their arguments in a clear, understandable and logical way.


Activity 5. Follow-up tests

General description: The activity consists of answering a test-type test of each of the compulsory readings and viewings of the subject.

Deliverable and links with the evaluation: Realization of the tests from the virtual classroom. This activity, together with other class activities, will account for 5% of the final grade of the subject.

Specific objectives: At the end of the activity the student must be able to:

Know how to recognize the key elements of the proposed readings.
Know how to identify the most relevant features of the language of the proposed filmography.


Activity 6. Final exam

General description: Individual test where students will have to demonstrate the assimilation of the theoretical contents developed in the whole subject.

Deliverable and links to the evaluation: The tasks and answers required in each case. The final exam corresponds to 50% of the final grade of the subject.

Specific objectives: At the end of the activity the student must be able to:

Know how to present and articulate in writing the contents assimilated in the subject.

Evaluation system


The evaluation system clearly differentiates two parts: the theoretical part and the part corresponding to the continuous evaluation activities. In order to be approved, the minimum mark of the final exam must be higher than 5.

The theoretical part (final exam) consists of 50% of the final evaluation.  

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 3: 20%
  • Debates: 5%
  • Comprehension tests and other activities: 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. 

Recovery:

Students who have not passed the final exam 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.


REFERENCES


Basic

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

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

Benioff, D .; Weiss, DB (2011). Game of Thrones [TV series]. United States: HBO.

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

Eco, Umberto (1995). Apocalyptic and Integrated. Barcelona: Tusquets.

Sartori, Giovanni (1998). Homo videns. The Remote Control Company. Madrid: Taurus.

Scolari, Carlos (2008). Towards hypertelevision. The first symptoms of a new configuration of the television device. In: Dialogues of Communication, num. 77.

Welles, Orson (director and producer) (1941). Citizen Kane [film]. United States: Mercury Productions.

Brooker, Charlie (2011). 15 Million Merit [TV series chapter]. In: Brooker, Charlie (2011). Black Mirror [TV series]. United Kingdom: Endemol.

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

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

Cook, Nicholas (1998): Analyzing Musical Multimedia. Oxford: Oxford University Press.

Chion, Michael (2008): Audiovisual: an introduction to a joint analysis of image and sound. Barcelona: Paidós.

GUSTEMS, Josep (Ed.). (2014): Music and listening in the audiovisual genres. Barcelona: University of Barcelona.

Tagg, Philip (2013). Music's Meanings: a modern musicology for non-musos. New York: The Mass Media Music Scholars' Press.

Complementary

Cuarón, Alfonso (director), Smith, Tony (et al) (producer) (2006). Children of Men [film]. United States and United Kingdom: Strike Entertainment.

Digital World (Flipboard magazine): https://flipboard.com/section/m%C3%B3n-digital-bGDZoD

Brooker, Charlie (2011). Black Mirror [TV series]. United Kingdom: Endemol.

Coppola, FF (director) (1972). The Godfather [film]. United States: Paramount Pictures.

Tarantino, Quentin (director) (1992). Reservoir Dogs [film]. United States: Artisan Entertainment.

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

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

LISSA, Zofia (1964): The Aesthetics of Film Music. PWM, Krakow.

NIETO, José (1996): Music for the image. The secret influence. Madrid: Iberautor Promociones Culturales.

NEUMEYER, D. (2015). Meaning and Interpretation of Music in Cinema. Bloomington: Indiana University Press

XALABARDER, Conrado. (2013). The Musical Screenplay in Cinema. World BSO.