
Audiovisual Communication Techniques
Code: 108161Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Humanities and Management of Culture | OB | 1 |
Contact lecturer
- Name :
- Carmen Ávalos Del Pino
- Email :
- mariadelcarmen.avalos@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
There are no prerequisites.
Objectives
In our contemporary audiovisual world, profound and exciting changes are taking place in the techniques used for content production. The first objective of this course is to provide knowledge about these techniques through the viewing and analysis of multiple high-quality extracts from contemporary audiovisual works.
These viewings and analyses will also serve as a basis for humanistic reflection on crucial aspects such as: (a) the emergence of AI in audiovisual media, (b) democratizing technology in image production, or (c) new forms of audiovisual storytelling.
The second objective is to foster students’ creativity and support the development of their own projects in the fields of audiovisual production and audiovisual research. This will enable them to apply in practice the knowledge acquired during the theoretical sessions. The teaching staff will oversee and support students’ practical work through dedicated project tutorials.
Learning outcomes
- CM08 (Apply innovative strategies following ethical principles of truthfulness in the dissemination and visibility of a cultural project. .) Apply innovative strategies following ethical principles of truthfulness in the dissemination and visibility of a cultural project. .
- CM09 (Propose intercultural communication strategies that promote respect and inclusion of cultural and gender differences.) Propose intercultural communication strategies that promote respect and inclusion of cultural and gender differences.
- KM14 (Identify the main audiovisual languages and techniques used in different genres and formats, such as series, films, documentaries and commercials, through viewing and critical analysis of selected fragments.) Identify the main audiovisual languages and techniques used in different genres and formats, such as series, films, documentaries and commercials, through viewing and critical analysis of selected fragments.
- KM15 (Identify the persuasion strategies used in texts and discourses of different formats, such as essays, articles and literary narratives, with the aim of encouraging critical reflection.) Identify the persuasion strategies used in texts and discourses of different formats, such as essays, articles and literary narratives, with the aim of encouraging critical reflection.
- KM16 (Recognise the role of women screenwriters and filmmakers, valuing their creative contributions and their influence on the representation of identities, narratives and cultural discourses.) Recognise the role of women screenwriters and filmmakers, valuing their creative contributions and their influence on the representation of identities, narratives and cultural discourses.
- SM12 (Interpret how the media influence culture, both in formats (image or word) and in its material and technological form.) Interpret how the media influence culture, both in formats (image or word) and in its material and technological form.
- SM13 (Analyse the relationship between mediation, representation and culture in the media.) Analyse the relationship between mediation, representation and culture in the media.
- SM14 (Distinguish between frequent and normative linguistic uses using descriptive and prescriptive tools.) Distinguish between frequent and normative linguistic uses using descriptive and prescriptive tools.
- SM15 (Use the appropriate communication style for communication media, such as reports, presentations, digital texts, podcasts, audiovisual scripts, etc., considering the purpose, the audience and the medium.) Use the appropriate communication style for communication media, such as reports, presentations, digital texts, podcasts, audiovisual scripts, etc., considering the purpose, the audience and the medium.
- SM16 (Generate oral speeches and written texts demonstrating mastery of the different phases for their elaboration: definition of objectives, planning, organisation and correction of the contents.) Generate oral speeches and written texts demonstrating mastery of the different phases for their elaboration: definition of objectives, planning, organisation and correction of the contents.
- SM17 (Create communicative products through the use of digital tools, such as word processors, image, audio or video editors.) Create communicative products through the use of digital tools, such as word processors, image, audio or video editors.
Contents
1.- AUDIOVISUAL TRENDS IN THE DIGITAL ERA
Media convergence: cinema, series, documentary, advertising, music videos, animation
Reformulation of narrative genres
Emerging Perspectives: Audiovisual works by women
What is real? Filmed reality versus computer-generated imagery (CGI)
Reflections on artificial intelligence as a supporting tool for audiovisual creation
2.- TECHNIQUES FOR CRITICAL AND REFLECTIVE CONTENT CREATION: AN INTRODUCTION
Introduction to planning, production, and editing of an audiovisual project
Scriptwriting: character development, plots, and narrative structures
Visual composition and framing
Camera techniques (movements and angles)
Soundtrack and sound design
The content of the course is sensitive to issues related to gender perspective.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Screening sessions in the classroom | 6 | 0.24 | KM16, SM12, SM13 |
| Preproduction and production of an audiovisual project | 45 | 1.8 | CM08, CM09, KM14, KM15, KM16, SM12, SM13, SM14, SM15, SM16, SM17 |
| Practical classroom work on audiovisual project development: topic selection, scriptwriting, and pitching | 6 | 0.24 | KM14, KM16 |
| Pitching | 3 | 0.12 | SM15 |
| Project supervision sessions | 18 | 0.72 | CM08, KM14, SM17 |
| Individual viewing of films, documentaries, series, and advertising | 20 | 0.8 | |
| Lectures | 15 | 0.6 | KM14, KM16, SM15, SM16, SM17 |
| Writing of theoretical essays | 20 | 0.8 | SM14, SM15, SM16 |
| Group film screenings in cinemas | 6 | 0.24 | CM09, KM14, KM16 |
Four types of activities are proposed:
- Classroom sessions to develop theoretical aspects.
- Written exercises: students will write their reflections on what they have learned in each lecture.
- Visualization and analysis of audio-visual products related to the content of theoretical lectures.
- Development of an audiovisual project (either a theoretical research or a audiovisual production). Each project will receive individual monitoring and feedback in tutorial sessions with the teaching staff.
Innovative teaching methodologies will be used:
Flipped learning: selected audio-visual products (films, series or documentaries) will be provided to students for them to watch outside the classroom. This practice will allow more time in class for analyse and debate the main ideas. Two sessions will be dedicated to this activity.
In the practical part, project-based learning (PBL) and active learning (learning by doing) will be applied to acquire knowledge and skills.
This approach to the subject implies regular class attendance, active participation, the viewing of audio-visual products proposed and the involvement in an audio-visual project, as well as the presentation of the results of this work.
Note: 15 minutes of one class, within the schedule established by the institution/program, will be reserved for students to complete the evaluation surveys of the teaching performance and the course.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Theory part of the course | 40% | 5.5 | 0.22 | CM09, KM14, KM15, KM16, SM12, SM13, SM14, SM15, SM16 |
| Practical part of the course | 60% | 5.5 | 0.22 | CM08, CM09, KM14, KM16, SM17 |
This module does not offer a single-assessment option.
ATTENDANCE
Students must attend at least 80% of both the theoretical and practical sessions in order to pass the module.
CONTINUOUS ASSESSMENT
Theoretical Component
Examination and attendance bonus: 40% of the final mark
Students who do not accumulate any unexcused absences will receive a bonus of one additional point, which will be added to their examination result.
Practical Component
Two assessment pathways are available for the practical component, depending on the type of work selected by the student: (A) an audiovisual production project or (B) a research project.
(A) Audiovisual Production Project
Oral presentation: 10%
Written project proposal (project dossier): 10%
Audiovisual production (video): 30%
(B) Research Project on an Audiovisual Topic Covered in the Module
Oral presentation: 10%
Written research paper: 40%
Students will be informed of the assessment review procedure and the date of grade reviews via the Moodle course page on the Virtual Campus.
PLAGIARISM AND ACADEMIC MISCONDUCT
Any irregularity committed by a student that may lead to a significant distortion of the assessment outcome will result in a mark of 0 for the relevant assessment task, irrespective of any disciplinary proceedings that may be initiated. In cases involving multiple irregularities or a particularly serious offence, the final mark for the module will be 0.
REVALUATION
Students will be entitled to reassessment if they have been evaluated on a set of activities accounting for at least two-thirds of the total course grade.
Students will be NOT EVALUABLE if they have presented a part inferior to 20% of the requested works and attendance (in the theoretical part as well as the practical part).
The reassessment is not intended as a means to improve the final grade.
Bibliography
- Brown, Larry A (2018): How Films Tell Stories. The Narratology of Cinema. Creative Arts Press.
- Català, Josep Maria (2021): Posdocumental. La Condición Imaginaria del Cine Documental. Shangrila
- Cruz, Coral (2014): Imágenes narradas. Como hacer visible lo invisible en un guion de cine. Laertes Ediciones.
- Davis, Rib (2016) Creating Compelling Characters for Film, TV, Theatre and Radio. Bloomsbury Academic.
- Dunham, Lena (2018): Dueñas del Show. Las Mujeres que están revolucionando las series de television DUEÑAS DEL SHOW. Joy Press / Alpha Decay
- Jenkins, Henry (2008): Convergence Culture: La Cultura de la Convergencia de los Medios de Comunicación. Paidos Ibérica.
- Magro-Vela, Silvia; Navarro-Sierra, Nuria; Sánchez-López, Pablo (2024): The Revolution Will Be Artificial. An Analysis of AI-generated Audio-Visual Creation. Tripodos. Artificial Intelligence and Communication. Opportunities and challenges (55)
- McKee, Robert. (2002) El Guion: sustancia, estructura, estilo y principios de la escritura de guiones; traducción: Jessica Lockhart. Ed Alba, Barcelona
- McGonigal, Jane (2011): Reality Is Broken: Why Games Make Us Better and How They Can Change the World
- Mead, Rebecca Mead et Al. (2019) El cuento de la criada. Ensayos para una incursión en la república de Gilead. Errata Naturae.
- Piñol, Marta et Al. (2019) Imaginar Mundos. Tiempo y memoria en la ciencia ficción 2019. Sans Soleil ediciones
- Rabiger, Michael (2000), Dirección Cinematográfica. Técnica y Estética. 2 edición. 2000, IORTV, RTVE
- Reisz, Karel: Técnicas del montaje cinematográfico (2003). Ed. Plot Ediciones.
- Saló, Gloria (2005) Qué es eso del formato. Cómo nace y se desarrolla un programa de tv. Madrid: Editoral Gedisa.
- Rabiger, Michael (2000), Dirección Cinematográfica. Técnica y Estética. 2 edición. 2000, IORTV, RTVE
- Reisz, Karel: Técnicas del montaje cinematográfico (2003). Ed. Plot Ediciones.
- Saló, Gloria (2005) Qué es eso del formato. Cómo nace y se desarrolla un programa de tv. Madrid: Editoral Gedisa.
Webs
https://www.youtube.com/c/Esperandoelrender
www.rtve.es/television/dias-cine/
http://www.uhu.es/cine.educacion/
http://www.uab.es/comunicacio/
http://www.documentalcreativo.edu.es/web/
hhttp://www.tv3.cat/documentals
http://www.tv3.cat/coproduccions/presentacio_projecte.htm
https://www.in-edit.org/webapp/programacion
http://www.cinemadautor.cat/es/
http://www.festivaldemalaga.com/index.php?seccion=secciones&cat=7
Software
Software
It is recommended to work with Davinci (free version) or Adobe Premiere. If this is not possible, any image and sound editing program that students may have installed on their computers, will do.
Students who choose to write a script or to write a research paper in the practical part of the course, will not need to use any specific software.
For those students who choose to create an audiovisual project in the practical part of the course, it is recommended to use DaVinci (free version) or Adobe Premiere. If this is not possible, any editing software students may have installed on their mobile devices will work.
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 | 1 | Catalan/Spanish | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan/Spanish | second semester | morning-mixed |
| (TE) Theory | 2 | Catalan/Spanish | second semester | morning-mixed |
| (PAUL) Classroom practices | 2 | Catalan/Spanish | second semester | morning-mixed |