
Structure of the Audiovisual System
Code: 103021Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Audiovisual Communication | OB | 3 |
Contact lecturer
- Name :
- Montse Bonet Bagant
- Email :
- montse.bonet@uab.cat
Teaching staff
- Josep Àngel Guimera Orts
- Guillem Marca Frances
Group languages
You can consult this information at the end of the document.
Prerequisites
In order to pass the course, it is recommended to have previously studied the subjects Història de la Comunicació, Estructura de la Comunicació, Tecnologies de la Informació i la Comunicació, Història de la Ràdio i la Televisió and Història del Cinema.
Objectives
This Compulsory subject is part of the Audiovisual Industry area, taken between the third and fourth academic year of the degree. Therefore, the educational objectives of this subject must be added to those of the other one that is also part of the area, Models de Gestió de l'Empresa Audiovisuall, Optional, and Qüestions d'Actualitat i Tendències del Sector Audiovisual (Optional), both of 6 ECTS credits.
As defined in the curriculum, it is about providing a panoramic view of the structure of the audiovisual system and the actors that make it up from a more analytical point of view, so that all the knowledge from previous years can be applied.
The general objective is to give the basic keys to what we can understand when we talk about 'audiovisual system', in a context such as the current one, what changes it has undergone and is still experiencing as well as the power relations between the main actors, the way in which they interact and contribute to shaping this system.
With all these elements, students must know how to analyse the environment in which they will have to develop professionally.
Learning outcomes
- CM07 (To plan audiovisual industrial production in accordance with its future market placement.) To plan audiovisual industrial production in accordance with its future market placement.
- CM08 (To interpret changes to the professional profiles that currently exist in the audiovisual system, avoiding the reproduction of gender inequalities.) To interpret changes to the professional profiles that currently exist in the audiovisual system, avoiding the reproduction of gender inequalities.
- SM11 (To examine the industrial and corporate dimensions of the audiovisual sector.) To examine the industrial and corporate dimensions of the audiovisual sector.
- SM12 (To analyse existing companies through the strict application of critical knowledge (production processes and methods, exhibition circuit for audiovisual products).) To analyse existing companies through the strict application of critical knowledge (production processes and methods, exhibition circuit for audiovisual products).
- SM13 (To conduct research with a view to obtaining information that may be useful in analysing the audiovisual industry and/or designing feasible audiovisual projects.) To conduct research with a view to obtaining information that may be useful in analysing the audiovisual industry and/or designing feasible audiovisual projects.
Contents
The course is organized around a set of key topics that are underpinned by a solid theoretical foundation while also requiring continuous updating in response to ongoing developments within the sector. Consequently, the monitoring and critical assessment of specialized information sources constitute a significant component of the learning process. The analytical framework that students are expected to apply to the contemporary media environment is articulated around the following main areas:
- Approaching the definition of the audiovisual system through its historical development and regulatory evolution.
- The audiovisual sector in the era of Big Tech: from flow to stock. Platformization of communication, technological convergence, and the growing influence of global communication conglomerates.
- Production and distribution dynamics in the cultural industries. The streaming logic, the role of gatekeepers, and the nodes of power within the value chain, together with their implications for labour relations.
- Infrastructure and distribution as strategic arenas in the struggle for dominance within the audiovisual sector.
- The evolution of companies in the Catalan and Spanish audiovisual sectors in a rapidly changing environment: opportunities, challenges, and strategic responses.
A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students will find the various teaching materials deemed appropriate by the instructors and necessary information for effective course monitoring. Should the teaching modality change for reasons of force majeure according to the
competent authorities, the teaching staff will inform students of any modifications to the course schedule and teaching methodologies.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Seminars (participation and written exercises) | 33 | 1.32 | CM08, SM11, SM12, SM13 |
| Reading, analysis and synthesis of texts, preparation and performance of written exercises | 82.5 | 3.3 | SM11, SM12, SM13 |
| Tutorials | 7.5 | 0.3 | SM12, SM13 |
| Theory classes | 15 | 0.6 | CM07, CM08, SM11, SM12 |
Students acquire knowledge and competencies through various methodological procedures that include master classes in the classroom, discussion and reflection exercises, readings and seminars, as well as texts and audiovisual documents available through Moodle.
Specifically, the seminars will focus on specific topics of the syllabus, for which a series of previous readings will be provided or prior information search and/or a presentation will be requested.
In addition, an important part of the course is based on carrying out the final project, which implies direct contact with specialists in the sector, both from the academic side and from the point of view of practitioners.
It is important that students do not see these three activities in a differentiated way but as parts of a whole, that are interrelated and serve to more easily achieve the goals and to better consolidate the knowledge.
This is a subject area that has a very clear, direct and constant relationship with the present, so monitoring all kinds of information related to the audiovisual system is highly recommended.
A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students will find all teaching materials and necessary information for eective course monitoring. Should the teaching modality change for reasons of force majeure according to the competent authorities, the teaching sta will inform students of any modifications to the course schedule and teaching methodologies.
Note: The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Final project (including presentation) | 35 % | 2 | 0.08 | CM07, CM08, SM11, SM12, SM13 |
| Theory final test | 35 % | 3 | 0.12 | CM08, SM11, SM12 |
| Seminars (written exercises and participation) | 30 % | 7 | 0.28 | CM08, SM11, SM12, SM13 |
CONTINUOUS ASSESMENT
The continuous formative assessment system is organized in three different parts, each of which must be passed to pass the course:
• Theory final test, 35% on the final grade.
• Seminars (participation and written exercises), 30% on the final grade.
• Final project (presentation included), 35% on the final grade.
In order to pass, a minimum of 5 must be obtained in all assessment activities.
Regarding the seminars, the final mark of each one derives from the information previously obtained and/or the group presentation and/or the written exercise performed in the classroom. The participation in the seminars will be based on the guidelines that will be provided and uploaded to the Virtual Campus. Each session will previously have an explanatory protocol.
The final project is a supervised activity carried out in a group. Special attention will be given to the ability to define the topic correctly, to use the language according to the type of work, to establish connections between theory and practice and the ability to synthesize the material consulted or obtained by any other means (interviews, video sources, audio ...) When the course begins, a specific protocol will be uploaded to Moodle and the teacher will discuss with each group on the topic to be studied. The final mark of the project will include its presentation at the end of the semester.
There is a second criterion of formal type and subtractive nature, that is, its compliance does not increase the final score, but its noncompliance subtracts points. Specifically, compliance with the technical characteristics specified in the guideline that will be offered at the beginning of the course (typography, letter size, line spacing, alignment, and margins) will be assessed, at a rate of 2 tenths per characteristic. Spelling is also a formal criterion. Each misspelling will subtract 0.3 points. Errors in citation and references used in the project will subtract also 0.3 points.
About the period and conditions of recovery assessment
Students who meet the following conditions will be eligible for these activities:
In case of having failed:
• who have obtained a minimum grade of 3 in the theory test,
• who have obtained a minimum grade of 3.5 in the final project, with the following exceptions: a project plagiarized in part or in its entirety (it is a 0 directly) or those that do not meet the formal requirements previously specified (that have misspellings, do not meet the minimum in terms of citation, etc.).
Students will be entitled to the recovery assessment of the subject if he or she has been evaluated of the set of activities whose weight equals a minimum of 2/3 of the total grade of the subject.
To be able to submit to the recovery assessment of the subject, it will be necessary to have obtained a minimum average grade of 3.5.
Seminars, plagiarized works or works made with an unauthorized use of artificial intelligence are not recoverable.
Students will have the opportunity to improve their mark when the grade is equal to or greater than 8 and the teacher is informedin advance. Attention: the final grade after taking the test for improvement could be lower.
Assessment fo students re-enrolled in the course
Students in the second or more sittings will take a single synthesis test that will consist of a theoretical exam that will include the content of the subject and some readings that will be given when the semester begins. The grade of the subject will correspond to the grade of the synthesis test. Both parts must be passed, each of which is worth 50% of the final grade.
Not assessable
Students who have not taken either the theoretical exam or the coursework and have not participated in a minimum of 75% of the seminars are considered Not Assessable within the framework of this subject.
SINGLE ASSESSMENT
Students can take advantage of the single assessment modality. The single evaluation system is made up of three different parts, each of which must be passed in order to pass the subject:
- Theoretical exam, 40% of the final grade. (The exam model is different from that of continuous assessment).
- Written test based on readings and knowledge of current events, 40% of the final grade.
- Industry News Quiz, 20% of the final grade.
In order to pass, a minimum of 5 must be obtained in all evaluation activities.
All three parts of the assessment will be taken on the official day of the exam, as stated on the Virtual Campus from the beginning of the course.
About the period and conditions of recovery assessment
Students who meet the following conditions may take advantage of these activities:
If you have failed:
- who have obtained a minimum grade of 3 in the theory exam,
- who have obtained a minimum mark of 3.5 in the written test,
- who have obtained a minimum grade of 3 in the Industry News Quiz.
Students will be entitled to the recovery assessment of the subject if he or she has been evaluated of the set of activities whose weight equals a minimum of 2/3 of the total grade of the subject.To be able to submit to the recovery assessment of the subject, it will be necessary to have obtained a minimum average grade of 3.5.
Students will have the opportunity to improve their mark when the grade is equal to or greater than 8 and the teacher is informed in advance. Attention: the final grade after taking the test for improvement could be lower.
ON THE USE OF ARTIFICIAL INTELLIGENCE
In this subject, the use of Artificial Intelligence (AI) technologies is allowed exclusively in support tasks, such as bibliographic or information searches, text correction or translations... Students must clearly identify which parts have been generated with this technology, specify the tools used and include a critical reflection on how these have influenced the process and the final result of the activity. The non-transparency of the use of AI in any assessable activity will be considered academic honesty and may lead to a partial or total penalty in the grade of the activity, or greater sanctions in cases of severity.
IRREGULARITIES
The performance of any irregularity in an assessment act (academic fraud, plagiarism or improper use of AI, unless this use is expressly authorised in the teaching guide), which may lead to a significant variation in the grade, assumes that this act will be graded with a 0. In the event that the teaching guide foresees that in order to pass the subject it is an essential requirement to have obtained a minimum grade in this assessment act or that there are several irregularities in the assessment acts of the same subject, the final grade for this subject is 0. Apart from this, a disciplinary process may be instructed for the student who commits any of these irregularities.
Bibliography
Basic references
Asenjo McCabe, Susana & Herrero Bernal, Begoña (2024) Nuevo comportamiento estratégico de las empresas españolas productoras de contenido audiovisual: el Green Shooting y la figura del eco manager. AdComunica, (28): 271–290.
Blázquez Jordán, José Manuel & de la Torre-Espinosa, Mario (2025) La plataformización de los festivales de cine en España: el caso de Filmin (2020-2024). Revista De Comunicación, 24(1): 51-67.
Bonet, Montse (Coord.) (2016) El imperio del aire. Espectro radioeléctrico y radiodifusión. Barcelona: UOC. Online book.
Bonet , Montse & Robert-Agell, Francesc (2026). Del dial al digital: Estrategias ante los desafíos en la distribución del audio radiofónico en España. ZER. Revista De Estudios De Comunicación, 31(60): 31-45.
Bonet, Montse & Sellas, Toni (2019) Del flujo al stock: el programador radiofónico ante la gestión del catálogo digital. El Profesional de la Información, 28(1): 1-8.
Bonet, Montse, Guimerà, Josep Àngel & Casado, Miguel Ángel (2021) The Spanish HbbTV service LOVEStv: When technology facilitates new strategies for survival. Media International Australia, 185(1): 139-152.
Cañedo, Azahara; Limón, Nieves y Sierra Morón, Susana de la (2025) La plataformización del sistema mediático europeo y español : regulación, estructura y contenidos. Tirant Humanitats. Online book.
Casado, Miguel Ángel, Guimerà, Josep Àngel, Bonet, Montse & Pérez Llavador, Jordi (2022)Adapt or die? How traditional Spanish TV broadcasters deal with the youth target in the new audio-visual ecosystem. Critical Studies in Television, 18(3): 256-273.
Chan-Olmsted, Sylvia, Wang, Rang & Hwang, Kyung Ho (2020) Substitutability and complementarity of broadcast radio and music streaming services: The millennial perspective. Mobile Media & Communication, 8(2): 209-228.
Clares-Gavilán, Judith (Coord); Merino Álvarez, Cristina & Neira, Elena (2019) La revolución over the top. Del vídeo bajo demanda a la televisión por internet. Editorial UOC. Col·leccio Manuales. Online book.
Donoghue, C. B., Havens, T. & McDonald, P. (2021) Media Distribution Today. En P. McDonald, C. B. Donoghue En P. McDonald, C. B. Donoghue y T. Havens (eds.). (2021). Digital media distribution: portals, platforms, pipelines. New York: New York University Press, 1-24.
Evens, T. (2020) DAB+ as a Systemic Innovation: Stakeholder Interests and the Introduction of Digital Radio. European Journal of Communication, 25(5): 502–517.
Evens, T. and Donders, K. (2018) Platform Power and Policy in Transforming Television Markets. Cham: Palgrave Macmillan.
Fernández Alonso, Isabel (Ed.) (2017) Austeridad y clientelismo. Política audiovisual en España en el contexto mediterráneo y de la crisis financiera. Barcelona: Gedisa. Online book.
Flew, Terry (2021) Regulating Platforms. Cambridge: Polity Press. Llibre en línia.
Frey, Mattias (2021) Netflix Recommends. Algorithms, Film Choice, and the History of Taste. Oakland: University of California Press. Online book.
Gallego Pérez Juan Ignacio (2023) El sector de la música digital en España: mapeando los intermediarios. Estudios sobre el Mensaje Periodístico, 29(3): 591-603.
Guimerà, Josep Àngel (2014) Les polítiques de mitjans de comunicació durant els governs de Jordi Pujol. Premsa, ràdio i televisió en el procés de reconstrucció nacional de Catalunya(1980-2003). Barcelona: Proa.
Guimerà i Orts, Josep Àngel & Bonet, Montse (2013) El model de negoci en cadena a Catalunya: de l’èxit radiofònic al fracàs televisiu’, Quaderns del CAC, 38. Disponible a: http://www.cac.cat/pfw_files/cma/recerca/quaderns_cac/Q38_guimera_bonet_ES.pdf
Guimerà i Orts, Josep Àngel & Bonet, Montse (2020) A Fractured and Weaker Public Service Media: Territorial Organisation, Public Media Policy and Economic Crisis in Spain. Javnost - The Public, 27(3): 308-324.
Hesmondhalgh, David (2019) (4th. ed) The Cultural Industries. London: SAGE.
Jordan, Tim (2020) The Digital Economy. Cambridge: Polity Press. Online book.
Larson, Rob (2020) Bit Tyrants. The Political Economy of Silicon Valley. Chicago: Haymarket Books.Online book.
Lehman-Wilzig, Sam & Cohen-Avigdor, Nava (2004) The natural life cycle of new media evolution: Inter-media struggle for survivalin the internet age. New Media & Society, 6(6): 707-730.
Lindeberg, Aura (2023) Digital strategies and third-party platforms: How Nordic public service media are reframing their audio strategies for the future. Journal of Digital Media & Policy, 16:1.
Lotz, Amanda D. (2022) Netflix and Streaming Video: the business of subscriber-funded video on demand. Cambridge: Polity Press.
Mateos-Pérez, Javier & Sirera Blanco, Rebeca (2025) Los modelos de producción de ficción televisiva española en la era de las plataformas (2017-2023). Revista Prisma Social, (49): 238–266.
McDonald, Paul; Brannon Donoghue, Courtney & Havens, Timothy (Eds.) (2021). Digital Media Distribution: Portals, Platforms, Pipelines. New York: New York University Press. Online book.
Miguel de Bustos, Juan Carlos & Izquierdo Castillo, Jessica (2022) Los GAFAM en las antípodas de los medios de servicio público: consecuencias peligrosas para la democracia. En: Gestión de medios públicos en el entorno digital, editado por Manuel Goyanes y Marcela Campos-Rue. Online book.
Nieborg, David B. (2025) Hablemos de dinero, datos y producción cultural dependiente de plataformas. RAE-IC, Revista de la Asociación Española de Investigación de la Comunicación, 12(24): 1-21, raeic122401.
Nieborg, David B., Poell, Thomas & van Dijck, Jose (2022). Platforms and platformization. A: The SAGE Handbook of the Digital Media Economy, editat per Terry Flew; Jennifer Holt & Julian Thomas. London: Sage, 29-49.
Piñeiro-Otero, Teresa & Pedrero-Esteban, Luis-Miguel (2022) Audio communication in the face of the renaissance of digital audio. Profesional de la información, 31(5): 1-18.
Robert-Agell, Francesc; Justel-Vázquez, Santiago & Bonet, Montse (2022) Sin hábito no hay escucha. Radio y generación Z: radiografía de los datos de audiencia y de la estrategia empresarial para conectar con ella. Profesional de la información, 31(5): 1-19.
Robert-Agell, Francesc; Bonet, Montse (2023) La industria de la radio en España en 2030: ¿hacia la definitiva adaptación digital?’. Estudios sobre el Mensaje Periodístico, 29 (4): 955-974.
Srnicek, N. (2018) Capitalismo de plataformas. Buenos Aires: Caja Negra.
Wikström, Patrik (2020) The Music Industry. Third Edition. Cambridge: Polity Press. Online book.
Zallo, Ramón (2016) Tendencias en comunicación. Cultura digital y poder. Barcelona: Gedisa. Online book.
Other online references
ACR (Associació Catalana de Ràdio) https://www.acradio.org
AER (Association of European Radios) http://www.aereurope.org/
ACT (Association of Commercial Television in Europe) http://www.acte.be/
BNE (Broadcast Network Europe) http://www.broadcast-networks.eu/
CAC (Consell de l'Audiovisual de Catalunya) : http://www.cac.cat
EBU (European Broadcasting Union)http://www.ebu.ch/mis
EGTA https://www.egta.com
ETNO (European Telecommunications Network Operators) https://www.etno.eu/
ETSI (European Telecommunications Standards Institute) http://www.etsi.org/
FCC (Federal Communications Commission) http://www.fcc.gov/
GSMA (GSM Association) http://www.gsma.com
Pew Research Center http://www.pewresearch.org/
RSPG (Radio Spectrum Policy Group) http://rspg-spectrum.eu/
SABI (Sistema de Análisis de Balances Ibéricos. Bureau van Dijk). Accés a través de la Biblioteca (dintre de la UAB o des dequalsevol punt gràcies a la Xarxa Privada Virtual).
Wider Spectrum Group https://widerspectrum.org
OFCOM : http://www.ofcom.org.uk
World DAB: http://www.worlddab.org
Bases de dades de l’Observatori Europeu del’audiovisual: IRIS Merlin, Lumiere,Korda, Persky : http://www.obs.coe.int/, http://merlin.obs.coe.int/
La resta de fonts s'anirà donant al llarg de l'semestre, especialment en funció de les necessitats concretes de cada grup per al treball de curs o sempre que algú ho demani.
Other references will be given throughout the semester, especially depending on students’ needs for their final project or whenever someone asks for it.
Software
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 4 | Catalan | second semester | morning-mixed |
| (SEM) Seminars | 41 | Catalan | second semester | morning-mixed |
| (SEM) Seminars | 42 | Catalan | second semester | morning-mixed |