Other languages of instruction: Spanish
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.
No requirements needed
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.
- 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.
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.
UNIT 1: Aesthetics and the study of art
1. Towards a possible definition of aesthetics and its components
2. Death of art and generalized aestheticization
3. Definition and limits of art in the contemporary world.
UNIT 2: Aesthetic languages and their communicability
1. Aesthetics and communication
2. The aesthetics of the reception and the role of the spectator
3. Image aesthetics and visual culture
UNIT 3: Aesthetics, cultural industry and mass media
1. Ranges of culture in the contemporary world
2. Nature of mass art
3. Ethics and aesthetics. Art and its social responsibility.
UNIT 4: Aesthetics and politics
1. From totalitarianism to relational aesthetics
2. Power and resistance.
3. Contextual art and theoretical proposals around political aesthetics
UNIT 5: Aesthetics of cinema and artisticity of the seventh art
1. The myth of total realism
2. Ontology of the cinematographic image
3. Temporality and photogenicity.
Teaching and learning activities
|TRAINING ACTIVITY||ECTS CREDITS|
|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.||0,4|
|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.||0,4|
|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.||0,2|
|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.||1.6|
Evaluation systems and criteria
The evaluation of the subject will be divided into three different parts. On the one hand, the students will have to carry out both individual work and a group project that will be presented and defended orally in the classroom. These works are compulsory and must be presented in order to pass the course. Likewise, the course also includes a final exam. It will be essential to have a minimum grade of 5.0 in the final exam so that the course average can be made. The weighting to make this average between the three parts will be as follows:
Final written exam 40%
Individual work and oral presentation 25% (mandatory)
Group project 25% (mandatory)
Attendance and participation 10%
Given the practical nature of the subject, class attendance and active participation will be valued. To pass the course, the student must attend at least 80% of the classes.
In case of not passing the subject in the first call, the student must present himself in a second call that will essentially consist of a final content exam. It will be necessary to present in this second call the individual work and the group project. In case of only failing the final exam in the 1st call, the grades obtained from the individual and group work will be maintained and in case of passing the second call exam, the average of the three grades will be made with the corresponding percentages. already explained above. In the event that the student does not pass or does not appear for this second call, the qualifications of the works will not be maintained in the third or fourth call, for which it will be necessary to repeat the entire subject.
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: 0.10 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
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.