Universitat Internacional de Catalunya
Audiovisual Industry Management
Teaching staff
By appointment
Introduction
The audiovisual sector provides tools and strategies of communication between cultural institutions and its audiences. But of course, audiovisual products themselves are expressions of cultural values and create their own complex, influential and far-reaching discourses. Apart from just being “tools”, audiovisual products are nowadays intrinsic to culture – be it as expression of cultural characteristics of countries/regions/people; be it as most obvious representation of a “globalized culture” which mirrors the global exchange networks of the creative economy.
Therefore, we want to highlight some crucial perspective on the AV sector: The AV sector as working environment for the cultural manager; as 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 fundament has always led to a very close connection between art, creativity and commercial interests.
Additionally, we will provide an overview over different genres and in how far these specific art forms or communication strategies are the result of specific working conditions as well as economic and financing structures.
Finally, we provide an overview over basic structures in the audiovisual sector. How does the framework to these creative processes and various artistic expressions look like? How are media companies, global media conglomerates, broadcasters etc managed and in how far do they reflect structural changes of the economy, of financing strategies and cultural practice?
Pre-course requirements
The same as for the Master's Degree.
Objectives
- 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
General:
- Be able to communicate properly, both speaking and writing, in English in front of expert and inexpert audiences
- Ability to work with the computer tools and knowledge of their essential applications to regular academic activities
- Ability to work in groups, participating actively in the assigned tasks, making decisions, and discussing your opinions with others until you come to an agreement
- Be self-disciplined, self-demanding and rigorous when doing academic tasks, and organize your time correctly
- Ability to progress in the learning process autonomously and continuously
- Ability to use the informative and communicative technologies and techniques
Transversal competences:
- Understanding of a creative environment as a complex system of various stakeholder´s interests
- Understanding how creative environments can be managed and how various stakeholder´s interests have to be balanced
- Understanding of how creative environments merge, overlap and collaborate and its impact on cultural managers decisions and professional profiles.
Specific to the subject:
- Understanding how to use of the cultural managers skills within the context of the audiovisual sector
- Understanding the specific challenges of the creative process in the AV environment
- Understanding the link between technological innovation and creative processes
- Basic knowledge of the AV media's business structures on national and global level
- Understanding dynamics, logic and impact of digital platforms (“streamers”, OTTs) on the AV sector
- 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 financing structures of the AV sector
- Knowledge of the social impact of the informative technologies
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
13 sessions
Christoph Pasour
Understanding basic structures, financing, distribution and working processes in the AV sector
Module 2
5 Sessions
Mrs Senem Tüzen
Understanding the creative process
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Module 1 Christoph Pasour Understanding basic structures, financing, distribution and working processes in the AV sector |
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Session 1
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INTRODUCTION |
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Session 2 + 3
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The 7 stages of film production |
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Session 4 + 5
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Film production: Funding, structures and collaboration
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Session 6 + 7 + 8
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Film distribution |
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Session 9 + 10
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Technology |
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Session 11 + 12 + 13
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The streamers |
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Module 2 Mrs Senem Tüzen Understanding the creative process |
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Session 14
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Session 15
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Session 16
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Session 17
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Session 18
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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 presentations based on the content of the subject.
Evaluation systems and criteria
In person
Christoph Pasour and Senem Tüzen will work with a system of evaluation as follows:
- Tüzen Sessions: Participation 100%
- Pasour Sessions: Participation 40% Essay 60%
- Balance Tüzen/Pasour Sessions: 30% / 70%
Bibliography and resources
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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
DRAU, J., SANCHEZ, L. (eds), (2008), “Industrias de la communicación
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”
HONTHANER, (2010), The complete Film Production Handbook, Elsevier
KAHANA, J., (2016), The Documentary Film Reader, Oxford University Press
KERRIGAN, Fiona, (2010), “Film Marketing”, Butterworth
KERRIGAN, S., (2016), Reconceptualizing Creative Documentary Practices, in McIntyre, P.,
LEE, J., Gillen, A., (2018), EPUB, Producer´s Business Handbook, Routledge
LEVISON, L., (2022), Filmmakers and Financing, Routledge
LIGHT HONTHANER, (2010) “The complete Film production handbook”, Elsevier INC
LIPOVETSKY, Gilles; SERROY, Jean (2009), “La Pantalla Global”
LONG, Spinak, (2014), Producing the Self: The Film Producer’s Labour and Professional Identity in the UK Creative Economy, in Spicer, McKenna, Meir, Beyond the Bottom Line: The Producer in Film and Television Studies, Bloomsbury
LYONS, J., (2014) The American Independent Producer and the Film Value Chain, in Spicer,
MCKENNA, Meir, Beyond the Bottom Line: The Producer in Film and Television Studies, Bloomsbury
MARZAL FELICI, JAVIER (eds), (2008), “Teoría y técnica de la producción”
MCLANES, B., (2012), A new History of Documentary Film, Continuum
MONACO, James (2009) “How to read a film”, Oxford University Press
MURRAY, Emma/WILSON, Charlie, (2011) “How to succeed as a Freelancer in Publishing”, howtobooks
RABIGER, M., Hermann, C. (2020), Directing the Documentary, Routledge
RICHIE, J., et al. (2022), An Introduction to Film and TV Production, Routledge
RUSCH, Kristine Kathryn, (2010) “The Freelancer Survival Guide”, WMG Publishing
SEDGWICK, John; POKORNY, Michael (edit), (2005), “An economic history of film”, Routledge
SEGER, L., (2019), EPUB, The Collaborative Art of Filmmaking, Routledge
STONE, N., (2023), EPUB, How Documentaries went mainstream, Oxford University Press
TOWNSE, R., (2010), A Textbook of Cultural Economics, Cambridge University Press
VILCHES, Lorenzo (coord), (2009), “Mercados globales, historias nacionales”
VOGEL, H., (2020), Entertainment Industry Economics, Cambridge University Press
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”