Universitat Internacional de Catalunya

Audiovisual Trends

Audiovisual Trends
4
12029
3
Second semester
OB
Main language of instruction: Spanish

Teaching staff

Competencies

  • 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
  • 15 - Knowledge and mastery of body language and techniques for public speaking
  • 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
  • 23 - The ability to prioritize newsworthy events and contrast information
  • 24 - The ability to plan and organize both short term and long term projects
  • 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
  • 27 - The ability to adapt to distinct audio visual publics and markets.
  • 34 - The ability to know and respect the different roles of the artistic and technical teams
  • 35 - The ability to contextualize and critically analyze the products of the audiovisual industry
  • 37 - The ability to contextualize and critically analyze the organizational structure of global communication
  • 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
  • 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
  • 43 - the ability to create scripts for film, television and radio according to the demands of the genre
  • 44 - The ability to adapt to new audiovisual formats
  • 45 - The ability to know and dominate the techniques of audiovisual narrative.
  • 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.

Teaching and learning activities

In person



TRAINING ACTIVITYECTS 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.
1.5
Focused Praxis. Handing in occasional exercises to learn theory through practice.
0.5
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.
0.5
Seminar. This activity will consist of taking an in-depth look at specific up-to-date topics in a monographic manner-in some cases these topics will have been debated socially-, via active work in small groups.
1.5

Bibliography and resources

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Balló, Jordi. Imágenes del silencio. Los motivos visuales en el cine. Barcelona: Anagrama, 1995.

Balló, Jordi y BERGALA, Alain (eds). Motivos visuales del cine. Barcelona: Galaxia Gutenberg, 2016.

Benavente, Fran. El héroe trágico en el western: el género y sus límites. Sevilla: Athenaica Ediciones, 2017.

Balló, J., y Pérez, X. (2005). Yo ya he estado aquí: ficciones de la repetición. Anagrama: Barcelona, Anagrama.

Benavente, F. & Salvador, G. (2013). Poéticas del gesto en el cine europeo contemporáneo. Intermedio: Barcelona

Costa,  J.  (2010). Una risa nueva. Nausícaä: España.

Brea, K.L. (2002). "Transformaciones contemporáneas de la imagen-movimiento: postfotografía, postcinema, postmedia" en Brea, J.L. La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales, Centro de Arte de Salamanca, Salamanca, 2002.

Deleuze, Gilles. La imagen-movimiento. Estudios sobre cine 1. Barcelona: Paidós, 1986.

Didi-Huberman, Georges. Ante la imagen. Pregunta formulada a los fines de la historia del arte. Murcia: Cendeac, 2010.

Didi-Huberman, Georges. Ante el tiempo. Historia del arte y anacronismo de las imágenes. Buenos Aires: Adriana Hidalgo, 2011. 

Elena, A. (1999). Los cines Periféricos. Paidós: Barcelona.

Elsaesser, T. (2006) “Early Film History and Multi-Media. An Archaeology of Possible Futures?” en Hui Kyong, W & Keenan T. (Eds.) New Media Old Media., Routledge: Nueva York.

Foucault, Michel. «Nietzsche, Freud, Marx». En: Nietzsche, Freud, Marx. Barcelona: Anagrama, 1981, pp. 27-50.


Goffman, E. (2006): Frame analysis. Los marcos de la experiencia. CIS: Madrid.

Guerra, C., Steyerl, H., Fernandes, J. (2015). Hito Steyerl. Duty-free art. Museo Nacional Centro de Arte Reina Sofía.

Jameson, F. (1995) La estética geopolítica: cine y espacio en el sistema mundial. Paidós: Barcelona.

Jackson Turner, Frederick. La frontera en la historia americana. Madrid: Ediciones Castilla, 1976.

Jullier, L. (2004). La imagen digital. De la tecnología a la estética. La Marca: Buenos Aires.

Kuspit, D. (2006). Arte digital y videoarte. Transgrediendo los límites de la representación. Círculo de Bellas Artes: Madrid.

Lipovetsky, G., Serroy, J. (2009). La pantalla global. Cultura mediática y cine en la era hipermoderna. Anagrama: Barcelona. Col. Argumentos

Meigh-Andrews, C. (2006). A History of Video Art. The Development of Form and Function. Berg: Oxford and New York.

Nietzsche, Friedrich. Sobre la utilidad y el perjuicio de la historia para la vida (Intempestiva II). Madrid: Biblioteca Nueva, 1999.

Oudart, Jean-Pierre. «La sutura». En: Banda aparte, nº 6, 1997, pp. 51-63.

Pinto Veas, I. (2010). La imagen simulacro, laFuga, 11.

Quintana, A. (2011) Después del cine. Imagen y realidad en la era digital. Acantilado: Barcelona.

Rosenbaum, J. y Martin, A. (2011). Mutaciones del cine contemporáneo.  Errata Naturae: Madrid.

Russo, E. (2009). “Lo viejo y lo nuevo, ¿qué es del cine en la era del post-cine?” en Jorge La Ferla (comp.), Artes y medios audiovisuales: Un estado de situación II. Las prácticas mediáticas pre digitales y post analógicas, Buenos Aires, Aurelia Rivera, Nueva Librería, 2008.

Sánchez, S. (2013). Hacia una imagen no-tiempo. Deleuze y el cine contemporáneo. Ediciones de la Universidad de Oviedo: Oviedo.

Sedeño Valdellós, A. (2011). Historia y estética del videoarte en España. Comunicación Social: Zamora.

Slotkin, Richard. Regeneration through violence. The Mythology of the American Frontier 1600-1860. Norman: University of Oklahoma Press, 2000.

Steyerl, H.. (2014). Los condenados de la pantalla. Caja Negra: Buenos Aires. Col. Futuros próximos.

Stoichita, V. (2006). Simulacros. El efecto Pigmalion: de Ovidio a Hitchcock. Ed. Siruela: Madrid. 

Thoret, Jean-Baptiste. Le cinéma américain des annés 70. París: Cahiers du cinéma, 2009.

Weinrichter, A. (ed.) (2007). La forma que piensa. Tentativas en torno al cine-ensayo. Festival Punto de Vista: Navarra.