General information


Subject type: Basic

Coordinator: Rafael Suarez Gómez

Trimester: First term

Credits: 6

Teaching staff: 

Aina Fernández Aragonés
Santos Martínez Labor 

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 part of the field of Communication of the Degree in Audiovisual Media. It is proposed as an introductory approach to audiovisual language and its descriptive, narrative and expressive use, both in terms of the elements of image and sound language, with the aim of offering an overview of the basic elements that they make up audiovisual communication and its new expressions as a result of the digitization process. Thus, a global overview of television language, internet languages ​​and new media is included. 

 

Learning outcomes


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

  1. Prepare and record the images and sound elements needed to make an audiovisual piece with a narrative meaning. 
  2. Explanation of information of an argumentative nature in public. 
  3. Group work on documentary research on some aspect of history and / or audiovisual language.
  4. Critical analysis of film or television sequences.

In addition, the student will also achieve the following learning outcomes:

5. To know and recognize the elements that make possible the audiovisual communication.
6. Develop a critical and analytical discourse on the trends of contemporary audiovisual.
7. To know how to apply audiovisual language correctly in the production of meaning.
8. To know how to construct fictional spaces from the structuring of the audiovisual language.
9. Know and be able to apply the main methodologies of analysis on the sound in the audiovisual.
10. 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.

Working methodology


The course consists of two weekly sessions of 3 hours, which will generally be structured as follows:

  • 60% of the session in master class format where the theoretical contents are presented.
  • 40% of the session in practical format, where activities will be carried out to consolidate the theoretical contents presented in the session itself. This practical part will be worked on from small discussion groups.

In addition, work will be done in small groups (4-5 people) to carry out the learning activities.

In addition, the dedication of autonomous work and in small groups of students is also contemplated, corresponding to 15 hours of dedication for each credit, adding a total of 90 hours of independent work, where it is expected of the student:

- The autonomous study for the evaluative tests

- Carrying out creative or academic work in small groups

- The reading of the compulsory texts and the viewing of the compulsory filmography, linked to the realization, also in these hours, of the tests of follow-up in the virtual classroom.

 - The search and structuring of the information for the elaboration of the debates, from the formulated question.

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. Stages of making the soundtrack

2.2. Typology of sounds

2.2. Diegetic and non-diegetic sound. sound in, So off i know over

2.3. Theaudiovisual according to Michel Chion

2.4. Strategies for analyzing film music

2.5. Music and advertising

3. Expression of audiovisual language

3.1 The language of television. 

3.2 Digital language and convergence.

3.3 Transmedia narratives.

3.4 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 to 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.

Learning outcomes: 
At the end of the activity the student must be able to:

LO1. Prepare and record the images and sound elements needed to make an audiovisual piece with a narrative meaning.
LO5. Know and recognize the elements that make audiovisual communication possible. 
LO7. Know how to correctly apply audiovisual language in the production of meaning.
LO8. Know how to build fictional spaces based on the structuring of audiovisual language.

Skills to be worked on: G1, G4

Addendum: in case of impossibility to carry out this activity due to restrictions caused by the COVID-19, an alternative activity will be carried out that allows to evaluate this 10% of note of the subject and that allows, as far as possible, to evaluate the proposed learning outcomes. 


Activity 2. Analysis of the soundtrack of an audiovisual product

General description: 
Description and analysis of the sound elements of an audiovisual product (film or advertising spot) agreed in class. The work will be done in groups and will be discussed collectively in class. Deliverable and links to the evaluation: 
A pdf file must be delivered to the eCampus-enabled mailbox. The pdf will contain the presentation and an explanatory script that must include one queue list for the analysis part. This activity will account for 10% of the final grade of the course.

Learning outcomes: At the end of the activity the student must be able to:

LO3. Group work on documentary research on some aspect of history and / or audiovisual language.
LO4. Critical analysis of film or television sequences.
LO9. Know and be able to apply the main methodologies of analysis on the sound in the audiovisual.
LO10. 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.

Skills to be worked on: E14, G1, G4


Activity 3. Partial exam

General description: Individual test where students will have to demonstrate the assimilation of the theoretical contents developed in topics 1 and 2.

Deliverable and links to the evaluation: The tasks and answers required in each case. The final exam corresponds to 15% of the final grade of the subject.

Learning outcomes: At the end of the activity the student must be able to:

LO5. Know and recognize the elements that make audiovisual communication possible. Skills to be worked on: E14, G1.

 


Activity 4. 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 to 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

Learning outcomes: At the end of the activity the student must be able to:

LO3. Group work on documentary research on some aspect of history and / or audiovisual language.
LO4. Critical analysis of film or television sequences.
LO5. Know and recognize the elements that make audiovisual communication possible.
LO6. Develop a critical and analytical discourse on the trends of contemporary audiovisual.

Skills to be worked on: E14, G1, G4. 

 



Activity 5. Debate

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

Deliverable and links with the assessment: A brief summary of the proposed exhibition must be delivered. This activity will account for 25% of the final mark of the subject, divided into 10% for the debate itself and 15% for the preparation work for the debate.

Learning outcomes: At the end of the activity the student must be able to:

LO2. Explanation of information of an argumentative nature in public.

LO3. Group work on documentary research on some aspect of history and / or audiovisual language.

LO5. Know and recognize the elements that make audiovisual communication possible.

LO6. Develop a critical and analytical discourse on the trends of contemporary audiovisual.

Skills that are worked on: E14, G1, G4.


Activity 6. 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 to the evaluation: Carrying out the tests from the virtual classroom. This activity, together with other class activities, will account for 5% of the final grade of the subject.

Learning outcomes: At the end of the activity the student must be able to:

LO5. Know and recognize the elements that make audiovisual communication possible.
LO6. Develop a critical and analytical discourse on the trends of contemporary audiovisual.

Skills to be worked on: G4. 


Activity 7. 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 35% of the final grade of the subject.

Learning outcomes: At the end of the activity the student must be able to:

LO4. Critical analysis of film or television sequences.
LO5. Know and recognize the elements that make audiovisual communication possible.
R10. 10. 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.

Skills to be worked on: E14, G1. 

Evaluation system


The evaluation system clearly differentiates two parts: the theoretical part and the part corresponding to the activities of continuous evaluation.

The theoretical part, corresponding to 50% of the mark (15% of the partial exam and 35% of the final exam) must have a weighted average equal to or higher than 5 in order to pass the subject. Otherwise, and regardless of the continuous assessment mark, the student will fail the course.

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 5: 10%+15%

Activity 6: 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 theoretical part 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

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

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

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

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

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

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.

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

Casetti, Francesco, & di Chio, Federico (1991). Sound codes. A: How to analyze a film. Barcelona: Paidós.

Chion, Michel (1993). Audiovisual: Introduction to a joint analysis of image and sound. Barcelona: Paidós.

Kalinak, Kathryn (2010). Film Music. A Very Short Introduction. New York: Oxford University Press

Gamze Ergüven, Deniz (director) (2015). Mustang [Filmstrip]. France, Germany, Turkey and Qatar.

Martinson, Leslie H. (director) (1966). Batman [Filmstrip]. United States: 20th Century Fox.

Iñárritu, Alejandro G. (director) (2014). Birdman [motion picture]. United States: Fox Searchlight Pictures.

Dong-hyuk, Hwang (director) (2021). 1 Mugunghwa Kkoch-i Pideon Nal (Luz roja, luz verde) [TV series chapter]. In: Dong-hyuk, Hwang (2021). Ojingeo Geim (The squid game) [television series]. South Korea: Netflix.

Fukunaga, Cary Joji (director) (2021). No Time to Die [Filmstrip]. United States: Universal Pictures.

Bourdieu, Pierre (2001). About television. Barcelona: Anagram.

Astudillo, Carolina (director) (2018). Ainoa, yo no soy esa [film]. Spain

De Ocampo, Isbel (2019). Serás hombre [film]. Spain

Couldry, N. (2008). Reality TV, or the secret theater of neoliberalism. Review of Education, Pedagogy, and Cultural Studies, 30(1), 3–13.

Gaylor, Brett (director) (2015). Do not Track [interactive documentary]. Canada: National Film Board of Canada.

Complementary

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

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

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

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

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

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

Álamo, Lamberto del (2020). Cinema and its music. Secrets and keys Madrid: Rialp.

Chion, Michel (1997). Music in cinema. Barcelona: Paidós.

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

Carlsson, Sven E. (nd). FilmSound.org. Retrieved July 21, 2022, from http://filmsound.org/

Carson, David (director) (1986). 4 The Musgrave Ritual [TV series chapter]. In: Hawkesworth, John (1986-1988). The Return of Sherlock Holmes [TV series]. United Kingdom: Granada Television.