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Documentary Theory and Practice

Code: 107551
Credits: 6
2026/2027
Degree programme Type Course
Audiovisual Communication OP 3

Contact lecturer

Name :
Daniel Mourenza Urbina
Email :
daniel.mourenza@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

Knowledge of film history and audiovisual languages.
Knowledge of English for readings and viewings.

Objectives

The objective of this course is for students to acquire relevant knowledge about the most important forms and trends in documentary filmmaking in order to develop the necessary skills to carry out critical and creative documentary projects. In this way, students will put the knowledge acquired about the documentary genre into practice: first, through the analysis of documentary films; second, through a series of practical workshops on documentary techniques; and, finally, through their own production project of a short documentary film.

Learning outcomes

  • CM14 (To come up with ideas for audiovisual messages for different audiences and platforms, emphasizing the different gender relations and sexual and gender identity.) To come up with ideas for audiovisual messages for different audiences and platforms, emphasizing the different gender relations and sexual and gender identity.
  • CM15 (To organise the production of audiovisual messages for different audiences and platforms.) To organise the production of audiovisual messages for different audiences and platforms.
  • KM19 (Apply audiovisual communication theories to industrial audiovisual productions.) Apply audiovisual communication theories to industrial audiovisual productions.

Contents

This course consists of both a theoretical and a practical component. The theoretical part will comprise lecture sessions at the beginning of the course, which will explore the history of documentary film, its formal development and its various classifications. In the seminars, students will analyse and discuss in groups a series of films that reflect the latest trends in documentary filmmaking and reflect upon their own form. In previous years, the course has featured and critically analysed films such as The Gleaners and I (Les Glaneurs et la Glaneuse, dir. Agnès Varda, 2000), Silence Is a Falling Body (El silencio es un cuerpo que cae, dir. Agustina Comedi, 2017) and Smoke Sauna Sisterhood (dir. Anna Hints, 2023). The film selection is subject to change from year to year.


The objective of the practical component of the course is for students to apply the theoretical and critical knowledge acquired during the first part of the term. Working in groups, students will be required to produce a short documentary. To support this, seminars and tutorials will be organized where the different groups can develop their projects and update the instructor on their progress. Along with the short documentary, groups must submit a critical reflection theoretically contextualising their work, outlining their original objectives and explaining the process that led to the final product.


The final class session will be dedicated to screening the documentaries produced throughout the course.


It should be noted that the course content will be sensitive to issues related to a gender perspective and the use of inclusive language.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Laboratory Pracyices 22.5 0.9
Seminars 15 0.6
Viewings, lectures and production of documentary films 82.5 3.3
Masterclasses 15 0.6
Tutorials 7.5 0.3

his course implements an educational innovation model grounded in three interconnected active methodologies, designed to break away from unidirectional lecturing and ensure an organic convergence between theory and filmmaking praxis:


  • Flipped Classroom: This methodology structures the initial theoretical-analytical block. Drawing from the keynote sessions providing historical and formal contextualization, students assume an active role outside the classroom through autonomous screenings and critical readings of core works. In-class sessions are dedicated to the co-creation of knowledge through dialogic debate and cooperative work, where groups critically analyze the films by immediately applying the theoretical concepts studied.
  • Challenge-Based Learning (CBL): In the transition toward the practical component, teaching is structured through a pedagogical scaffolding framework based on solving specific technical and formal challenges. Within the laboratory workshop spaces, students must complete contextualized experimental micro-projects (such as conducting an observational shoot, executing interviews, or creating a montage-based documentary). These challenges operate as safe learning environments that consolidate technical skills and introduce the dynamics of real-world production.
  • Project-Based Learning (PBL): This serves as the backbone methodology for the second half of the course. Organised into autonomous working teams and supervised through periodic tutorials, students must conceptually develop, organize, and fully produce a short documentary film. This final project not only assesses technical skills but also requires the submission of a critical reflection in which the groups theoretically contextualize their work, linking practical learning outcomes with the conceptual and historical debates of the course. The process culminates in a collective screening session of the produced pieces.


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.

Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
Individual Tasks 20% 1.5 0.06 KM19
Documentary short project 50% 3.75 0.15 CM14, CM15, KM19
Practice-based group tasks 20% 1.5 0.06 CM14, CM15, KM19
Attendance and participation 10% 0.75 0.03 CM14, CM15, KM19

All assessment components must be passed in order to average and pass the course. Students will be entitled to retake the course if they have been assessed on all activities whose weight is at least two-thirds of the total grade for the course. To be eligible to retake the course, a student must have obtained an average grade of 3.5.

This course does not include the single assessment system.

Non-Assessable. Following point 9 of Article 266 of the UAB Academic Regulations, if it is determined that the student has not provided sufficient evidence to be evaluated, the subject will be classified as non-assessable.

If a student commits any irregularity that could lead to a significant variation in the grade for an assessment, that assessment will be graded with a 0, regardless of any disciplinary process that may be initiated. If multiple irregularities occur in the assessments for the same course, the final grade for this course will be 0.

For this course, the use of Artificial Intelligence (AI) is permitted exclusively for editing and revising text (and images). Students must clearly identify any parts generated with these technologies, specify the tools used and include a reffection on how AI has inffuenced the process and final outcome of the assignment. Failure to disclose the use of

AI in this assessed activity will be considered a breach of academic integrity and may result in a partial or total penalty to the assignment grade, or more serious sanctions in

severe cases.

Bibliography

Barnouw, Erik (1996). El documental. Historia y estilo. Gedisa.

Baron, Jamie (2014). The Archive Effect: Found Footage and the Audiovisual Experience of History. Routledge.

Bruzzi, Stella (2000). New Documentary: A Critical Introduction. Routledge.

Català, Josep M.; Cerdán, Josetxo.; Torreiro, Casimiro (2008). La forma de lo real. Introducción a los estudios visuales. Editorial UOC.

Cerdán, Josetxo.; Torreiro, Casimiro. (2005). Documental y vanguardia. Cátedra.

Chanan, Michael (2008). The Politics of Documentary. British Film Institute.

Corner, John (1996). The Art of Record: A Critical Introduction to Documentary. Manchester University Press.

Ellis, Jack; Mclane, Betsy (2005). A New History of Documentary Film. Continuum.

French, Lisa (2021). The Female Gaze in Documentary Film: An International Perspective. Palgrave.

Kochberg, Searle, ed. (2002). Introduction to Documentary Production. Wallflower Press.

Lebow, Alisa (2012). The Cinema of Me: The Self and Subjectivity in First Person Documentary. Columbia University Press.

Lindenmuth, Kevin J. (2011). Cómo hacer documentales: Guía práctica para iniciarse en la creación de documentales. Acanto.

Malitsky, Joshua (2021). A Companion to Documentary Film History. Wiley.

McLane, Betsy A. (A New History of Documentary Film (Continuum, 2012)

Nichols, Bill (1991). La representación de la realidad: Cuestiones y Conceptos sobre el Documental. Paidós.

Nichols, Bill (1994). Blurred Boundaries: Question of Meaning in Contemporary Culture. Indiana University Press.

Nichols, Bill (2013). Introducción al documental, trad. Miguel Bustos García. Universidad Nacional Autónoma de México.

Rabinowitz, Paula (1994). They Must Be Represented: The Politics of Documentary. Verso.

Renov, Michael (1993). Theorizing Documentary. Routledge.

Saunders, David (2010). Documentary. Routledge.

Ulfsdotter, Boel y Backman Rogers, Anna (2018). Female Authorship and the Documentary Image: Theory, Practice and Aesthetics. Cambridge.

Ward, Paul (2005). Documentary: The Margins of Reality. Wallflower Press.

Weinrichter, Antonio (2004). Desvíos de lo real. El cine de no ficción. T&B Editores.

Software

Students will use audiovisual and sound editing software. Free software is recommended.

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 Spanish second semester morning-mixed
(PLAB) Practical laboratories 41 Spanish second semester morning-mixed