
Audiovisual Language
Code: 105007Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Audiovisual Communication | OB | 2 |
Contact lecturer
- Name :
- Fernanda Pires De Sa
- Email :
- fernanda.pires@uab.cat
Teaching staff
- Montserrat Santamarina Blanco
- Miguel Urmeneta Arbusa
Group languages
You can consult this information at the end of the document.
Prerequisites
The course doesn’t have specific prerequisites, but it is considered as a continuity of specialised subjects such as Written and audio-visual communication languages, Audio-visual narrative and Technologies in Audiovisual Communication.
Objectives
The course is integrated into the topic “Audiovisual Language”. This topic in Audio-visual Communication degree provides advanced knowledges about expressive structures and audio-visual language uses to build messages in television, cinema, radio, multimedia and social media.
The course, within the training block, is aimed to provide the general concepts and the theoretical foundations for the creative conception and production of television and cinema products.
Learning outcomes
- CM11 (To apply the technical, narrative and aesthetic procedures of Audiovisual Communication to create innovative products.) To apply the technical, narrative and aesthetic procedures of Audiovisual Communication to create innovative products.
- CM12 (To validate the feasibility of communication messages based on their potential social and commercial impact.) To validate the feasibility of communication messages based on their potential social and commercial impact.
- CM13 (To communicatively assess sound or audiovisual languages based on the type of product created.) To communicatively assess sound or audiovisual languages based on the type of product created.
- KM17 (To identify the different codes of audiovisual expression.) To identify the different codes of audiovisual expression.
- KM18 (To determine the communicative value of the different codes of audiovisual expression.) To determine the communicative value of the different codes of audiovisual expression.
- SM16 (To leverage the communicative effectiveness, innovation and aesthetic sensibility of the various rhetorical devices in Audiovisual Communication to construct messages.) To leverage the communicative effectiveness, innovation and aesthetic sensibility of the various rhetorical devices in Audiovisual Communication to construct messages.
- SM17 (To adapt the use of audiovisual languages to the professional sector’s different content creation needs.) To adapt the use of audiovisual languages to the professional sector’s different content creation needs.
Contents
1.Production organization
2. Audiovisual language, interactive media and social networks
3. Mise-en-scène
4. Composition
5. Camera Movements and its functions
6. Editing, construction of discourse and narrative temporality
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Master Classes | 15 | 0.6 | |
| Readings, preparation of practices, preparation of tests | 87 | 3.48 | |
| Laboratory practices | 33 | 1.32 | |
| Tutorials | 7.5 | 0.3 |
The acquisition of knowledge will be done through various methodological procedures that include lectures and laboratory practices.
The methodology will project-based learning (PBL), which transversely will back all the training activities of the subject.
In the theoretical lectures, there will be an exposition of the contents of the course. As for the practices, they will be carried out in groups at the university television studios and in editing rooms. These practices will aid to apply into real cases what was learned in the previous theoretical sessions. The design and practices preparation and the different related documents are part of the autonomous work of the students.
An exam will be applied with the aim of knowing the degree of theoretical knowledge achieved, as well as the ability to apply this knowledge.
Students will be able to take optional tutorials sessions with the professors.
Course planning and Virtual Campus
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.
Gender perspective and inclusive language
Note: The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
Evaluation surveys
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Practices reports and production documents | 30% | 1 | 0.04 | CM11, CM12, CM13, KM17, KM18, SM16, SM17 |
| Laboratory practices | 40% | 4 | 0.16 | CM11, SM16, SM17 |
| Written exam | 30% | 2.5 | 0.1 | CM13, KM17, KM18 |
There will be three types of assessment: A) written examination, B) laboratory practices and C) practices’ reports and production documents.
THE EVALUATION ACTIVITIES ARE:
A) Written exam, 30% in the final grade.
Project-based learning (PBL) will be implemented, which consists of the design, preparation and elaboration of an audiovisual project with several deliveries from different parts of the project with feedback and the possibility of improving these deliveries. This project will be developed throughout the course through various evaluable activities of analysis and audiovisual creation that consist of:
B) Laboratory practices, 40% in the final grade.
C) Practical activities’ reports, production documents, 30% in the final grade.
Students need to be evaluated on the different parts of the course to get a final grade. The final grade will be the result of the weighted sum of the partial grades.
No average mark will be made if the grade of any evaluation activity is lower than 5. In such cases, the course will be graded as "not assessable".
Single-assessment system
This course does not provide for a single-assessment system.
Re-evaluation
Students will be entitled to the re-evaluation of the subject. They should present a minimum of activities that equals two-thirds of the total grading.
The practices are excluded from the re-evaluation process (competencies and skills not acquired throughout the course can hardly be achieved in a couple of weeks).
Students who have participated in the ordinary evaluation and fail may recover the grade ifthey have obtained a minimum grade of 3.5.
Even if the students achieve a mark higher than 7 in a re-evaluation activity, their maximum mark in this activity will be a 7.
Second Enrolment
In the case of a second enrollment, students may take a synthesis exam/assignment consisting of two parts: 1) an individual written exam with theoretical and practical questions, 2) and the submission of two audiovisual products, which will be previously assigned by the professor and must be submitted on the same day as the written exam. The final grade for the course will correspond to the grade obtained in the synthesis exam/assignment.
Not assessable
In this course, a student will be graded as not assessable if they do not attend or complete any of the scheduled assessment activities on the dates indicated in the course calendar, without a duly justified reason (such as illness with a medical certificate, the death of a close family member, a court summons, or other similar situations properly documented). Likewise, this same grade will be assigned if, following the reassessment period, students still have a mark below 5 in any of the continuous assessment activities, as no average will be calculated.
Plagiarism
In the event that the student performs any irregularity that may lead to a significant variation of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0
Artificial Intelligence
For this course, the use of artificial intelligence (AI) technologies is permitted exclusively for support tasks, such as bibliographic or information searches, proofreading, or drafting texts that will later be edited and improved by the student. The use of AI-generated audio and video is also allowed in non-significant parts of audiovisual projects, such as visual or sound transitions, decorative elements, or representations of situations that would be difficult to record without advanced audiovisual resources. These materials must not replace the main content or the student’s analytical contributions, and students must ensure they hold the rights to use them and comply with current intellectual property regulations. Students must clearly identify which parts have been generated using this technology, specify the tools used, and include a critical reflection on how these tools influenced the process and final outcome of the activity. Lack of transparency in the use of AI in this graded activity will be considered academic dishonesty and may result in a partial or total penalty in the grade, or more serious sanctions in severe cases.
Irregularities
The performance of any irregularity in an evaluation act (academic fraud, plagiarism or improper use of AI, unless this use is expressly authorized by 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 evaluation act or that there are several irregularities in the evaluation acts of the same subject, the final grade of this subject is 0. Apart from this, a disciplinary process may be instructed to the student that incurs any of these irregularities.
Procedure in cases of suspected irregularities
Any student suspected of submitting assignments that have been generated by AI, written by others or copied; include unattributed AI-generated content, or fall outside the permitted scope, may be asked to provide the preliminary work or other materials that can demonstrate it is original work and the result of their own authorship. They may also be asked to separately explain or justify their work. Professors may also use AI detection systems or carry out any verification tasks they deem appropriate. If, after review, the instructor detects irregularities, the assignment may be graded zero, and the student may be subject to further disciplinary action.
Bibliography
Mandatory Bibliography
- Cancho García, Nuria E. and García Torres, Marco A. 2018. Planificación de proyectos audiovisuales. Publicaciones Altaria: Barcelona. (Cap 3, 4, 6)
- Castillo, José María. 2016. Televisión, realización y lenguaje audiovisual. Madrid: Instituto RTVE.(Cap 1, 5, 7, 10, 12)
- Clayton, Rafe. 2019. Filmmaking Theory for Vertical Video Production. En The European Conference on Media, Communication & Film. The International Academic Forum. Disponible en: http://papers.iafor.org/wp-content/uploads/papers/euromedia2019/EuroMedia2019_52556.pdf
- Consell de l’Audiovisual de Catalunya. 2019. Recomanacions per a una publicitat igualitària: Els beneficis d’incloure la perspectiva de gènere en la comunicació publicitària Disponible enhttps://www.cac.cat/sites/default/files/2019-07/Recomanacions_publicitat_igualitaria_CA.pdf
- Consell de l’Audiovisual de Catalunya. 2013. Superar els estereotips en els mitjans de comunicació audiovisual: Recomanacions. Disponible en: https://www.cac.cat/sites/default/files/2018-04/Superar_estereotips.pdf
- Fernández Díez, Federico and Martínez Abadia, José. 2018. Manual básico de lenguaje y narrativa audiovisual. Barcelona: Ed. Paidos (Cap. 3, 6, 13, 15)
- Navarro-Güere, Héctor. 2023. El vídeo en formato vertical. Una revisión de la literatura en comunicación. Revista Mediterránea de Comunicación/Mediterranean Journal of Communication, 14(1), 69-81. https://www.doi.org/10.14198/MEDCOM.23028
- Nielsen, Jakob Isak. 2007. Camera Movement in Narrative Cinema-Towards a Taxonomy of Functions [Tesis doctoral, Aarhus Universitet]. https://pure.au.dk/portal/en/publications-research/camera-movement-in-narrative-cinema(2db25920-e87a-11dd-8f9a-000ea68e967b).html
- Poell, Thomas, David B. Nieborg, and Brooke Erin Duffy. 2022. Platforms and cultural production. Cambridge: Polity
- Ross, Miriam. 2020. Reconfigurations of Screen Borders: The New or Not-So-New Aspect Ratio. InSusanne Ø. Sæther y Synne T. Bull (eds), Screen Space Reconfigured (pp.105-126).Amsterdam: Amsterdam University Press
- Rozados, Andrés, Calvete-Lorenzo, Sara and Sosa-Fernández, Rocío del Pilar. 2024. Producciones audio-visuales en formato vertical: el caso de Snap Originals. El consumo de ficción en 9:16. Palabra Clave, 26(4), e2646. https://doi.org/10.5294/pacla.2023.26.4.6
- Sued, Gabriela. E. (2022). Culturas algorítmicas: Conceptos y métodos para su estudio social. Revista Mexicana de Ciencias Políticas y Sociales, 67(246). https://doi.org/10.22201/fcpys.2448492xe.2022.246.78422
Complementary Bibliography
- Barroso, Jaime. 2008. Realización audiovisual. Madrid: Ed. Síntesis
- Bestard, María Luciano. 2011. Realización audiovisual. Barcelona: UOC
- Bordwell, David. and Thompson, Kristin. 1995. El arte cinematográfico. Barcelona: Ed. Paidós.
- Cury, Ivan. 2009. Dirección y producción en televisión. Un enfoque basado en el formato. Andoain: Escuela de Cine y Video
- Millerson, Gerald. 2009. Realización y producción en televisión. Barcelona: Ed. Omega
- Morales, Fernando. 2013. Montaje audiovisual. Teoría, técnica y métodos de control. Barcelona: Ed. UOC
- Quintana, Ángel. 2011. Después del cine. Imagen y realidad en la era digital. Barcelona, Acantilado
- Sánchez,José. 2016. Poéticas del entretenimiento: imagen, movimiento y narración en el cine de Steven Spielberg. Available: https://eprints.ucm.es/id/eprint/39200/1/T37797.pdf
- Scheleser, Max. 2021. Smartphone Filmmaking:Theory and Practice. New York: Bloomsbury Academic.
- Scolari, Carlos A. 2013.Narrativas Transmedia: Cuando todos los medios cuentan. Barcelona: Deusto
Software
Da Vinci Resolve or Similar Video Editing Software
It is recommended to consult the tutorials published on the Faculty's website: https: //www.uab.cat/web/coneix-la-facultat/serveis-de-la-facultat/laboratoris-audiovisuals/tutorials-videos-laboratoris-audiovisuals -fcc-1345828154136.html
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 | first semester | morning-mixed |
| (PLAB) Practical laboratories | 41 | Catalan | first semester | morning-mixed |
| (PLAB) Practical laboratories | 42 | Catalan | first semester | morning-mixed |
| (PLAB) Practical laboratories | 43 | Catalan | first semester | morning-mixed |