Universitat Internacional de Catalunya
Esthetics
Teaching staff
By appointment
Introduction
The subject of aesthetics is presented as a preparatory course that offers students basic tools to get into the aesthetic dimension of audiovisual discourse and in the languages that enable their communicability.
The course analises the fact that audiviosual experiences have introduced many changes in our societies and this fact requires to rethink concepts and categories developed by the aesthetic tradition.
In this sense, the subject traces a theoretical and practical itinerary from the controversial notion of aesthetics to its peculiar relations with the cultural industry, cinema and television.
Pre-course requirements
No requirements needed
Objectives
The course aims students use some basic concepts of aesthetics in audiovisual context, that is, for the study of the aesthetical features in audiovisual speech and its formal, symbolic and cultural aspects.
The course also wants to offer students an overview as complete as possible of the current aesthetic reflection in its practical and theoretical aspects.
The intention, therefore, is to help students to apply aesthetical concepts and professionally tools in its creative work within the cultural industry.
It must help them to understand better the continuities and ruptures that new languages and new technologies represent in symbolic, iconic and cognitive production.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 09 - The ability to objectify, quantify and interpret (data, statistics, empirical evidence )
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 13 - The ability to create spoken and written communication
- 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
- 16 - The ability to manage, analysis and reflect on content
- 18 - The capacity and development of general culture and interest in social events
- 19 - The ability of informative documentation
- 20 - Knowledge and mastery of bibliographic media
- 21 - Knowledge and mastery of the digital culture
- 22 - Knowledge and mastery of the distinction between opinion and information / colloquial and cultured register
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 40 - The ability to defend and respect authorship and intellectual property
- 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
- 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
- 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Learning outcomes of the subject
Acquire a basic understanding of the essential aesthetic components that can influence audiovisual production
Understand the importance of aesthetics in relation to the audiovisual
Aptitude to analyze the audiovisual discourse and its communicative intention.
Ability to analyze audiovisual languages and models, to understand its theoretical principles and know how to apply them.
Aptitude to understand and reflect on the foundations of audiovisual communication.
Syllabus
1. The aesthetics and the theory of art
a) Towards a definition of aesthetics and its components
b) Aestheticization and limits of art
2. Aesthetics and its audiovisual implementation
a) Aesthetics and communication
b) Creation and aesthetic creativity
c) The role of the spectator and the aesthetics of reception
3. The aesthetic languages and its communicability.
a) Linguistic, aesthetic and iconic turn in the articulation of audiovisual speech
b) Contributions of semiotics and hermeneutics
c) Transcendence and sense of symbol
d) Aesthetic image and visual culture
4. Aesthetic, cultural industry and mass media
a) Approaches to a "media culture" or "mass culture"
b) Nature of “art for the masses”
c) The cultural product as spectacle and entertainment
d) Art and fashion
e) The art and social responsibility
f) The masterpiece and its relationship to the value
5. Aesthetics of film
a) The myth of total cinema: magic, illusion and representative impression of reality
b) Ontology of the film image
c) Art and Film Industry
d) Film Image, temporality and photogenic
e) Cinema as entertainment vs. auteur cinema
Teaching and learning activities
In person
The teaching methodology combines master classes, seminars, lectures of the students, information research and individual and group work.
The study load of each course activity is detailed below:
- Master classes (14h)
- Coaching sessions (4h)
- Focused praxis (6h)
- Laboratory (4h)
- Meeting point (2h)
| TRAINING ACTIVITY | ECTS CREDITS |
|---|---|
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1,4 |
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 0,4 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0,6 |
| Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product. | 0,4 |
| Meeting Point. Meetings will be organised with notable people from the professional and scientific fields or the international field, and students. These sessions will take the form of conferences, work sessions, discussions, or interviews, etc. | 0,2 |
Evaluation systems and criteria
In person
The evaluation of the course will be divided into three parts. On the one hand students will be both an individual and group work that will be presented and defended orally in class. These works are required and must submit them to pass the course. Likewise, the course also includes a final exam. It will be essential to have a minimum score of 5,0 in the final exam so that they can make the average weighted curs.La to make the average between the three parties is as follows:
Final written exam 60%
Individual work based on the study of texts on contemporary aesthetics which must be exposed in the classroom orally 30%
Class attendance and participation 10%
The student must attend 80% of the classes to pass the course.
In case of failure, the student must submit to a second sitting consisting essentially of a final written exam. The first sitting qualifications obtained in the group project and individual work will be maintained but if the student does not exceed or is not presented in the second sitting, the qualifications of these works will not be maintained.
ADVICE NOTES
1. In this subject it is very important to make proper use of the language in the written tests, papers and oral presentations, both from the point of view of grammar and spelling and punctuation and wording. A proper use of terms specific to the discipline is also of special relevance. The criteria to be followed before any of these errors is as follows: 0.25 will be lowered for misspelling or incorrect words in essays and exams.
2. Advice on plagiarism
Plagiarism is the use of material appropriated from another source or from other sources with the intention of passing it off as one’s own work. Plagiarism may take the form of unacknowledged quotation or substantial paraphrase. Sources of material include all printed and electronically available publications in English or other languages, or unpublished materials, including theses, written by others.
To avoid plagiarism, you must cite the source whenever ideas written by another person are used and although the quotation is not literal and paraphrase or summarise someone else's ideas. In the literal or direct quotations one must use quotation marks and cite the source. In an academic work, it is not sufficient to state generally the literature used, but to explicitly mention the source where there ideas written by someone else come from
Plagiarism in written work of this subject is unacceptable and, therefore, any work in which plagiarism is committed will be evaluated with a zero.
Bibliography and resources
Bibliography
ALSINA, H., ROMAGUERA, J. Textos y Manifiestos del Cine. Madrid: Cátedra, 1989
ARGULLOL, R. Tres miradas sobre el arte. Barcelona: Icaria 1985.
AUMONT, J. La estética hoy. Madrid: Cátedra 1997.
BAUDRILLARD, J. El complot del arte: ilusión y desilusión estéticas. Amorrortu. 2006.
BAZIN, A. ¿Qué es el cine? Madrid: Rialp 1990
CARROLL, N. Una filosofía del arte de masas. Madrid: Machado libros 2002
CASTRO, S. J. En teoría es arte. Una introducción a la estética. Salamanca: Edibesa, 2005.
ESTRADA, D. Estética. Barcelona: Herder,1988.
FOSTER, H. The Anti-aesthetic: essays on postmodern culture. New York: The New Press, 1998.
GADAMER, H.G. La actualidad de lo bello. Barcelona: Paidós 1991
GIVONE, S. Historia de la estética. Madrid: Tecnos 1990.
GRAW, I. ¿Cuánto vale el arte? Buenos Aires: Mardulce, 2015
JIMÉNEZ, J. Teoría del arte. Madrid: Tecnos 2002
JIMÉNEZ, J. Imágenes del hombre. Fundamentos de estética. Madrid: Tecnos 2017
LIPOVETSKY, G., Seroy, J. La estetización del mundo. Barcelona: Anagrama, 2015.
MARCHÁN FIZ, S. La estética en la cultura moderna. Madrid: Alianza 1987
MOLINUEVO, J. L. La experiencia estética moderna. Madrid: Síntesis 1998
PLAZAOLA, J. Introducción a la estética. Madrid: BAC 1973.
SEDLMAYR, H. La revolución en el arte moderno. Madrid: Acantilado 2008
TARKOVSKI, A. Esculpir en el tiempo. Barcelona: Rialp 1990.
VALVERDE, J.M. Breve historia y antología de la estética. Barcelona: Ariel 2000
VILAR. G. Las razones del arte. Madrid: Antonio Machado 2005
VILAR, G. Desartización. Paradojas de un arte sin fin. Salamanca: Universidad de Salamanca 2010.
XIRAU, R. i SOBREVILLA, D. Estética. Madrid: Trotta, 2003.
ZUNZUNEGUI, Santos. Pensar la imagen. Madrid: Cátedra 1992.
VETESSE, A. El arte contemporáneo. Madrid: Rialp, 2013.