Universitat Internacional de Catalunya
Audiovisual Industry Management
Introduction
The audiovisual sector provides communication tools and strategies between cultural institutions and their audiences. But of course, audiovisual products themselves are expressions of cultural values and create their own complex and far-reaching discourses. Apart from just being ‘tools’, audiovisual products are nowadays intrinsic to culture – be it as an expression of cultural features of countries/regions/people; be it as the most obvious representation of a ‘globalised culture’ which mirrors the global exchange networks of the creative economy.
Therefore, we want to highlight some crucial perspectives of the AV sector: the AV sector as a working environment for the cultural manager; as a mediator between the ‘big audience’ or audience segments and cultural institutions; and as source of cultural products and cultural discourses of its own.
We will understand the characteristics of the creative processes in the AV sector. Understanding and appreciating the challenges of the creative process will help us to develop the necessary skills to communicate between art and business. For the AV sector, this has always been a tricky balancing act, as its technological foundations have always led to a very close connection between art, creativity and commercial interests.
Additionally, we will provide an overview of different genres and the degree to which these specific art forms or communication strategies are the result of specific working conditions as well as economic and financial structures.
Finally, we provide an overview of basic audiovisual structures. What does the framework for these creative processes and various artistic expressions look like? How are media companies, global media conglomerates, broadcasters, etc. managed and to what degree do they reflect structural changes in the economy, financial strategies and cultural practice? We will also take a close look at the world of film festivals –not only as crucial events for the distribution of AV products but also as an interesting working environment for the cultural manager.
Pre-course requirements
The same as for the Master's Degree.
Objectives
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- To understand how to use cultural manager skills within the context of the audiovisual sector.
- To understand the specific challenges of the creative process in the AV environment.
- Basic knowledge of the AV media business structures on a national and global level.
- Basic knowledge of main formats and genres.
- Basic knowledge of working processes and procedures in the AV environment: from the first idea to the final project.
- Knowledge of the different financial structures in the AV sector.
- Knowledge of the social impact of information technologies.
Competences/Learning outcomes of the degree programme
Basic competence
CB6 To have and understand knowledge which provides a grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
CB7 To know how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.
General competences
CG4 To know how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.
CG5 To act responsibly, and produce good quality rigorous and efficient work that is placed at the service of society.
Cross-disciplinary competence
CT1 To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions
Specific competence
CE8 To identify business structures in creative cultural industries, in the visual arts and cultural heritage at a national and a global level and manage the processes and work procedures involved in their creation, programming, management and production.
Learning outcomes of the subject
The student
- Understands knowledge which provides a grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
- Knows how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.
- Knows how to communicate, encourage and mediate between the various agents who take part in a project, programme or cultural service.
- Acts responsibly, and produces good quality rigorous and efficient work that is placed at the service of society.
- Designs, directs, produces and evaluates projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions
- Identifies business structures in creative cultural industries, in the visual arts and cultural heritage at a national and a global level and manages the processes and work procedures involved in their creation, programming, management and production.
Syllabus
Module 1 Mr Krysztof Zanussi Understanding the creative process |
Session 1
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Introducing lecture about the sources of inspiration for a dramatic story. 3 film excerpts as examples of possible solutions (DVD). Analysis of the target that each story potentially may reach.
|
Session 2
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Another 3 examples to analyze. From real fact to its screen version. Ethical values of the society confronted with the dramatic structure. Prognosis of potential impact of values target group.
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Session 3
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Feedback from the students. Individual discussions about their propositions.
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Module 2 Ms Monica Amor “Culture on television” - Defining the working environment for Cultural Managers in the media |
Session 1
|
Documentaries
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Session 2
|
Children Programmes |
Session 3
|
Educational TV |
Session 4
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Open Channels
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Session 5
|
Short films |
Module 3 Mr Christoph Pasour Understanding basic structures as well as financing and working processes of the AV sector |
Session 1 |
Introduction
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Short history of the “moving images”. TV and Cinema: Information vs immersive experience |
Session 2 |
The Production |
The four basic steps of the production process |
Session 3 |
The Structures I |
Production Companies, Broadcasters and Media Networks. Structures, collaborations, challenges and opportunities I |
Session 4 |
The Structures II |
Production Companies, Broadcasters and Media Networks. Structures, collaborations, challenges and opportunities II |
Session 5 |
Money |
Finding your money. Which are the sources of financing? Money for TV and/or cinema productions. Public and private funding in the AV sector. |
Session 6 |
Technology I |
Short history of technology in the AV sector. Technology and Art: prolific interaction or destructive competition? |
Session 7 |
Technology II |
Short history of technology in the AV sector. Technology and Art: prolific interaction or destructive competition? |
Session 8 |
Distribution |
Understanding distribution: How to reach the audience. Players and strategies. The value chain for cinema and TV. The US major studio system. Relation of distribution to movie financing. |
Session 9 |
Film festivals I |
The film festival as “product”. Different categories of film festivals. History and development of film festivals as reason for their actual situation. |
Session 10 |
Film festivals II |
Internal structures of film festivals. The art of programming. Financing structures of film festivals. |
Session 11 |
Filmfestivals III |
The global festival circuit. Changing roles and widening the profile of film festivals. |
Session 12 |
The Example. |
Summary. Step by step - project planning from development to distribution – working on one concrete example. |
Teaching and learning activities
In person
The learning will be organized in:
· Lectures: plenary sessions where the content of the subject will be explained. This will always have the form of an open discussion. Students are invited to ask questions and express their doubts during the session.
· Tasks in class: seminar sessions to do exercises based on the content we talked about previously.
· Meetings: in the seminars, to supervise all tasks (both individual and in groups).
· Tasks at home: preparation of the final presentations based on the content of the subject.
· Excursions: Excursions to institutions in Barcelona or nearby are possible. In how far this will be integrated in the course schedule will be communicated to the students in time.
Evaluation systems and criteria
In person
Monica Amor and Christoph Pasour will work with a system of evaluation.
- Amor Sessions: Participation/Presence – 50%, Project – 50%.
- Pasour Sessions: Participation/Presence – 40%, Oral Presentation 20%, Essay 40%
- Balance Amor/Pasour Sessions: 30/70
You will get detailed information about what we expect from you for "Oral Presentation“, "Essay“ or "Project“ at the beginning of this course.
Bibliography and resources
BENNETT, Bruce; Furstenau, Marc; Mackenzie, Adrian (edit), (2008), “Cinema and technology”, Palgrave MacMillan
BORDWELL, David; THOMSON, Kristin, (1994), “Film History – An Introduction”, McGraw-Hill
DE VALCK, Marijke, (2007),“Film Festivals”, Amsterdam University Press
DEBRETT, Mark, (2010), “Reinventing Public Service Television for the digital future”, The University of Chicago Press
DEUZE, Mark, (2007), “Media Work” Polity Press
DEUZE, Mark, (2011), “Managing Media Work”, SAGE
DRAU, J., SANCHEZ, L. (eds), (2008), “Industrias de la communicación audiovisual”
FLIBBERT, Andrew, (2007), “Commerce in Culture – States and Markets in the World Film Trade”, Palgrave MacMillan
FRANCÉS I DOMÈNEC, Miquel, (2009), “Hacia un nuevo modelo televisivo”
MARZAL FELICI, JAVIER (eds), (2008), “Teoría y técnica de la producción”
IORDANOVA, Dina; CHEUNG, Ruby (edit) (2011ff) “Film festival Yearbooks”
KERRIGAN, Fiona, (2010), “Film Marketing”, Butterworth
LIGHT HONTHANER, (2010) “The complete Film production handbook”, Elsevier INC
MURRAY, Emma/WILSON, Charlie, (2011)m “How to succeed as a Freelancer in Publishing”, howtobooks
RUSCH, Kristine Kathryn, (2010) “The Freelancer Survival Guide”, WMG Publishing
LIPOVETSKY, Gilles; SERROY, Jean (2009), “La Pantalla Global”
MONACO, James (2009) “How to read a film”, Oxford University Press
OECD publishing, (2008), “Remaking the movies - DIGITAL CONTENT AND THE EVOLUTION OF THE FILM AND VIDEO INDUSTRIES”
SEDGWICK, John; POKORNY, Michael (edit), (2005), “An economic history of film”, Routledge
VILCHES, Lorenzo (coord), (2009), “Mercados globales, historias nacionales”