Universitat Internacional de Catalunya

Author Creating

Author Creating
Second semester
Main language of instruction: Spanish

Teaching staff

After the lessons or by appoinment via email:

Albert Albacete (aalbacete@uic.es)



To be an author you have to have an artistic intention. There are many artistic disciplines, multiple formats and ways of disseminating art expression. Art is a form of communication of knowledge, a continuous research. Art is a cultural necessity. Art historically constantly interrogates human beings and their existence. Developing individual authorship is an essential part of artistic creation.

Pre-course requirements

Does not require prior requirements.


- Individual development of authorship and creativity according to the subjective point of view and perception of the world.
- To search the way to define the identity of each one personally hrough the audiovisual. To transcend from the individual to the universal.
- To reflect on the social reality that surrounds us and to create from it.
- To stimulate the artistic intention, of search and of interrogation.
- To look for the artistic component of daily life things.


  • 01 - The ability to adapt to varying circumstances
  • 02 - The ability to understand, accept criticism and correct errors
  • 04 - The ability to work in a team and autonomously
  • 08 - The ability of critical analysis, synthesis, concretion and abstraction
  • 10 - The ability to confront difficulties and resolve problems
  • 11 - The ability to generate debate and reflection
  • 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
  • 16 - The ability to manage, analysis and reflect on content
  • 17 - The ability to contextualize and critically analyze the events of social reality and to represent Contemporary History
  • 18 - The capacity and development of general culture and interest in social events
  • 22 - Knowledge and mastery of the distinction between opinion and information / colloquial and cultured register
  • 25 - The ability to maximize creative development
  • 33 - The ability to create and direct.
  • 35 - The ability to contextualize and critically analyze the products of the audiovisual industry
  • 44 - The ability to adapt to new audiovisual formats
  • 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes

Learning outcomes

The learning outcomes of this subject would be summarized basically in three:

- Construction of the author's gaze

- Creative and artistic development

- Personal and professional growth


The contents of the subject will be based on 2 pillars of knowledge:

A) Through reference sources which one can develop its authorship with. References that will serve to understand how a story of success has been developed through the inspiration of the original sources.

B) Through the exploration of oneself. What does it move you, what does inspire you, what genre, format, style, do you identify with?

Here some of the reference authors:

- Robert Bresson
- Eugène Green
- Yasujirō Ozu
- Nicholas Philibert
- Ben Rivers
- Víctor Érice
- Abbas Kiarostami

- Andrés Duque
- Leon Siminiani
- Virginia García del Pino
- Jorge Tur
- Maria Cañas

- Carles Bosch
- Frederick Wiseman
- Maysles Brothers
- Richard Leacock

- Lars von Trier
- Werner Herzog
- Andy Warhol
- Ai Wei Wei
- José Luis Guerín
- Agnès Vardà

Teaching and learning activities

In person

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.
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.
Focused Praxis. Handing in occasional exercises to learn theory through practice.
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.
Practical workshop. A highly practical working activity, where students can acquire skills that are practical or also theoretical (intellectual skills, logical skills, critical skills, intellectual learning skills, study skills, quoting skills, etc).

Evaluation systems and criteria

In person

The following will be assessed on an individual basis
Artistic intention.
Process and development.
Expression and creation.
Attendance and participation.


40% Individual final work. Audiovisual Essay. Duration 5 min. approximately

20% Evaluation of collective creativity exercises

20% Evaluation of individual creativity exercises.

20% Attendance and participation


80% compulsory attendance

Spelling regulations of the faculty will be applied

Plagiarism regulations will apply.

Bibliography and resources

ADORNO, Theodor W., Notas de Literatura, Ariel, Barcelona (1962)

AULLÓN DE HARO, Pedro, Teoría del ensayo, Verbum, Madrid (1992)

BERGALA, Alain, “Qu’est-ce qu’un film-essai”, en Le film-essai: identification d’un genre (catálogo), Bibliothèque Centre Pompidou, París, (2000)

BARTHES, Roland, El placer del texto, Siglo XXI, Madrid (2007)

– El susurro del lenguaje, Paidós, Barcelona (1987)

BRINKEMA, Eugenie: “The Forms of The Affects”. Duke University Press, 2014.

BROWN, Bill: “Super Cinema: Film-Philosophy for The Digital Film” Berghahn Books, 2015.

CATALÀ, Josep María, “El film-ensayo: la didáctica como una actividad subversiva”, Archivos de la Filmoteca, no 34, (febrero 2000)

CERDÁN, Josetxo (eds.), Documental y vanguardia, Cátedra, Madrid (2005)

DORSKY, Nathaniel; El cine de la devoción, Ed. Asociación Lumière, 2012.

CUEVAS, E, GARCÍA, A.N, Paisajes del yo. El cine de Ross McElwee, Ediciones Internacionales Universitarias (2008)

FOUCAULT, Michel, Dits et écrits. 4, Gallimard, Paris (1996)

GAUT, Berys - A Philosophy of Cinematic Art, Cambridge University Press, 2010.

HADOT, Pierre, Ejercicios espirituales y filosofía antigua, Siruela, Madrid (2006)

– La filosofía como forma de vida, AlphaDecay, Barcelona (2009)

 ¿Qué es la filosofía antigua?, Fondo Cultura Economica, Madrid (1998)

KUSPIT, Donald B., Arte y videoarte: transgrediendo los límites de la representación, Círculo de Bellas Artes, Madrid (2006)

LUKÁCS, György, El alma y sus formas, Grijalbo, México (1985)

MERLAU-PONTY, Maurice; “Fenomenología de la percepción”. 1945.

MONTAIGNE, Michel, Les Essais, I, II y IIIPUF, Paris (1965)

MOREY, Miguel, Pequeñas doctrinas de la soledad, Sexto Piso, Madrid (2007)

ORTEGA, M.L, WEINRICHTER, A, Mystère Marker. Paisajes en la obra de Chris Marker, T&B Editores (2008)

ROMBES, Nicholas; Cinema in The Digital Age, Wallflower Press, 2009

RUSSELL, Catherine (1999), Experimental Ethnography. The Work of Film in the Age of Video. Durham and London, Duke University Press. 2006.

SHAVIRO, Steven: “Post Cinematic Affect” O-Books, 2010.

SOBCHAK, Vivian; Carnal Thoughts - Embodiment and Moving Image Culture, University of California Press, 2004.

WEINRICHTER, A, La forma que piensa. Tentativas en torno al cine ensayo, Gobierno de Navarra, Pamplona 2007.

Sobre el tiempo – Rudiguer Safranski - 2015

Simulacro y simulación – Jean Boudrillard - 1981

El imperio de los signos – Roland Barthes - 1970

La fábula cinematográfica - Jaques Rancière - 2001

El espectador emancipado – Jaques Rancière - 2008

El arte cinematográfico – David Bordwell, Kristin Thompson - 2003

La cámara lúcida - Roland Barthes - 1980

El estilo trascendental – Paul Schrader - 1972

Obra abierta – Humberto Eco - 1962