General information

Subject type: Basic

Coordinator: Rafael Suarez Gómez

Trimester: First term

Credits: 6

Teaching staff: 

Aida Martori Muntsant
Roger Gonzalez Merchant 
A hard tackle from Víctor Manuel Navarro to Remesal 

Teaching languages

Classes will be held in Catalan. L'alumnat pot comunicar-se tant en català com en castellà durant les classes, de la mateixa manera que pot fer els treballs en qualsevol de les dues llengües. Linguistic correction is requested in all cases.


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


At present we are permanently surrounded by audiovisual messages of various kinds. In the “age of screens”, we receive these impulses through multiple channels and in the different facets of our lives, from professional to personal life. It is important, therefore, to reflect on the nature of these messages that affect our daily lives, as well as on the way they are organized and related, and on their origin and evolution.

This course will cover the historical, aesthetic and technological development of photography, cinema, radio, television and, more recently, the Internet and video games. We will look at their appearance and trajectory, the expressive characteristics of each of them and, as a consequence, what they have in common.

To achieve this, many examples of specific cases will help us, as well as other explanatory materials. It is important not only to know this route, but also to develop a critical thinking around works that will influence students when developing their own products throughout the degree. There will also be academic-style work to deepen the subject through active learning (which will serve to familiarize students with a way of working that will be requested during the degree) and will provide readings that provoke reflection.

Learning outcomes

LO1 To know in general terms the historical evolution of audiovisual media.

LO2 Know, value and contextualise the main audiovisual works and their authors.

LO3 Know how to present and write ideas in an argumentative and formally correct way.

LO4 Observe the historical, ideological and linguistic circumstances that condition the audiovisual.


Complementary learning outcomes:

RAC1 Develop critical thinking about audiovisual media, their products and their future evolution.

RAC2 Develop the skills of discursive articulation and oral transmission of content related to the audiovisual.

Working methodology

The methodology of the subject is structured in sessions that will contain theoretical explanations in the form of lectures, lectures and / or video capsules, combined with the viewing of audiovisual works, as well as other materials (such as fragments of documentaries, reports or programs) that complement the knowledge on certain topics. The sessions will also consist of active learning in the classroom (including the inverted classroom), in the form of reflection around scheduled compulsory readings, debates, forums or other activities (student presentations, etc.).

Besides, the asignatura contemplates the autonomous learning by part of the alumnado, with a dedication that includes: the realization of works, the critical reading of materials facilitated, the assistance to tutorials no presenciales and the study of the matter , others.

The approach of the subject will be sensitive to incorporate the gender perspective in all possible aspects, from the contents to the dynamics of work and student participation. Methodologies that promote gender equality and non-sexist attitudes that facilitate the intervention in the classroom of all students will be used.



Birth and beginnings of photography.

Expansion of photography in the nineteenth century. Pioneers and pioneers.

Photojournalism and photodocumentary.

Evolution during the XNUMXth and XNUMXst centuries. Some authors.



Pre-cinema and origins of cinema. Pioneers and pioneers.

Consolidation of storytelling and cinematic avant-garde.

Cinematic classicism. Genres and authors.

National cinematographies.

New cinemas and some personalities from the second half of the XNUMXth century.



Invention and beginnings of broadcasting.

Technical, programmatic and social evolution of the radio medium.

Radio in Spain and Catalonia throughout the s. XX.



Origins of television.

Technological, programmatic and social evolution of television.

Modernity of the television medium.

Television in Spain and Catalonia. Birth and evolution.



Origins and history of the Internet. Technological and social evolution of the network.

Video games: birth and history.

Learning activities

Group activities:

  • Activity 1. Presentation about a relevant historical figure of the audiovisual. This group activity consists of an oral presentation. The oral presentation will be evaluated and the support that has been used will be delivered (ppt, pdf ...). The grade will come from the evaluation of the teaching staff and the co-evaluation of the other students. The content of the presentation will be teaching material.
  • Activity 2. Analysis of a work or program. The work, in a group and of a theoretical type, consists of analyzing a work or program related to one of the subjects of the subject. The activity includes the preparation of the written work and an oral presentation.

Individual activities:

  • Activity 3. Quiz of the readings. These are questionnaires, which are carried out in the classroom in a synchronous way (either virtual or face-to-face, depending on the teaching modality depending on the situation of the pandemic), on five compulsory readings indicated by the teachers (one per topic of the theoretical contents ), that students must have read and worked autonomously.
  • Activity 4. Final exam. Synthesis test of all the contents of the subject.

Evaluation system

First-year students must follow the continuous assessment and carry out all the activities described in the section Learning activities (if an activity is not done or is not delivered on time, the student will have a zero in it ), and the evaluation percentages indicated below will be applied:

  • Activity 1: worth 15% of the grade (10% will come from the teaching staff and 5% from the students' co-correction). It is not recoverable.
  • Activity 2: worth 20% of the grade. Specifically, the written work is worth 15% of the grade and the oral presentation, 5%. It is not recoverable.
  • Activity 3: worth 15% of the grade (3% of each quiz taken, as there will be five in total). These quizzes are not recoverable and cannot be rescheduled.
  • Activity 4: worth 50% of the grade. You must take at least a 5 to pass the course (otherwise, the grade of the exam will be suspended), and it is recoverable in the re-assessment period. In order to be able to choose to re-evaluate the test, the student must have taken the exam in the first call. 

Repeat students can choose to follow the continuous assessment and do all the assessable activities previously described, or opt for the single assessment modality which consists of doing the work of analyzing a work or program individually (30% of the final grade, non-refundable) and the exam (70% of the final grade, with the option of recovery during the re-evaluation period as long as it has been presented at the first call). The exam must be passed in order to pass the subject and make an average with the work (otherwise, the exam grade will be used as the final grade). Students can only opt for this mode of assessment from the second registration onwards, and in the case of opting for this modality it is necessary to communicate this to the teaching staff of the subject during the first two weeks of the course.   

Papers submitted in previous courses, in whole or in part, may not be submitted.

Rules for carrying out the activities

The activities will have to answer to the criteria indicated in class and / or to the statements of the same. Presentation and linguistic correction will be valued.

The carrying out of the activities presupposes the commitment of the students to participate actively in the individual and group works.

The works must be original. A plagiarism immediately invalidates the corresponding work, in such a way that it will not be evaluated and will be rated with a 0, regardless of other measures and actions that may be taken. The difference between copying (plagiarism) and citation is in the correct mention of the sources of information.



Freund, Gisèle (1983). The first photographers. A: Photography as a social document. Barcelona: Gustavo Gili, p. 35-53.

Pariser, Eli (2017). Content by relevance. A: The bubble filter. How the web decides what we read and what we think. Barcelona: Penguin Random House, p. 31-54.

Camporesi, Valeria (2014). Animated photographs. A new way of thinking about the world is born. A: Think about the history of cinema. Madrid: Cátedra, p. 16-33.

Navalbos, Lourdes (1998). The effects of world war on the audience. Triggers of "radio panic". Semiosphere, 8, p. 119-137.

Postman, Neil (1993). The era of "show business". A: Let’s have fun until we die. Barcelona: Llibres de l'Index, p. 107-125.


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

Newhall, Beaumont (2008). History of photography. Barcelona: Gustavo Gili.

Sougez, Marie-Loup (1994). History of photography. Madrid: Chair.

Donovan, Tristan (2018). Replay: The history of video games. Seville: Paper Heroes.

Baget Herms, Josep Maria (1994). History of television in Catalonia. Generalitat de Catalunya, Communication Research Center.

Bonet, Montse (2005). Spanish radio 1994-2004. A decade of consolidation and disenchantment. Public Sphera, (5), 59-70.

Brinson, Susan (2005), From Marconi to Cop Rock. An introduction to Broadcasting history. A: Winn, Emmet & Brinson, Susan (eds), Transmitting the Past. Historial and Cultural Perspectives on Broadcasting. Tuscaloosa: The University of Alabama Press, p. 1-15. 

Bustamante, Enrique (2013). History of Radio and Television in Spain. A pending subject of democracy. Barcelona: Editorial Gedisa.

Rueda, José Carlos; Galán, Elena & Rubio, Ángel L. (2014). History of the media. Madrid: Alianza Editorial.

Franquet, Rosa (2001). History of radio in Catalonia in the twentieth century: from galena radio to digital radio. Generalitat de Catalunya, Department of the Presidency, General Directorate of Broadcasting and Television.

Arboledas, Luis & Bonet, Montse (2014). The Radio in Spain: European Appearance, Franco's Legacy. Javnost-The Public, 21 (4): 67-82.

Sousa, Jorge Pedro (2011). Critical history of Western photojournalism. Manganeses de la Lampreana, Zamora Comunicación Social.

Rosenberg, Alejandra (2016). About the Women Film Pioneers Project. Cinema Comparat / ive Cinema, vol. IV, num 8, p. 17-23.

Castells, Manuel (2001). The Galaxy internet. Barcelona: Plaza & Janés.

Vázquez Montalbán, Manuel (1997). History and social communication. Barcelona: Critique.

Altés, Elvira (2021). Women on the waves. The history of radio in Catalonia in the voice of women. Lleida: Pagès Editors.

Moragas, Miquel de (2022). Communication and its changes. From the origins to the mobile. Valencia: Global Village.