Universitat Internacional de Catalunya
Introduction to Audiovisual Language
Other languages of instruction: Catalan, English
Teaching staff
By appointment by email.
Introduction
"Introduction to Audiovisual Language" is a 4 ECTS credit course taught during the first semester of the first year of the Journalism degree program. It forms part of the foundational curriculum in the area of Audiovisual Journalism. Together with other subjects taught during the first year (such as "Journalistic Language I"), this course prepares students to progress to the second-year course "Television Communication".
Through this course, students will acquire the fundamental knowledge and skills related to audiovisual language. It introduces both the theoretical frameworks and practical applications of the elements and principles that constitute its codes.
Students will gain hands-on experience in teamwork and will develop a critical perspective on audiovisual products, an essential competence for their future careers in communication and journalism.
In addition, students will complete practical fieldwork exercises, both during and outside scheduled class hours, aimed at consolidating the skills acquired in lectures. These exercises will culminate in the collaborative production of a nonfiction audiovisual project, which must be submitted at the end of the semester.
Pre-course requirements
It is not a requirement to have prior knowledge of the audiovisual world, although good predisposition and interest in the different audiovisual content is an extra to face the subject.
Objectives
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Master the elementary codes of audiovisual language and introduce students to the study of the audiovisual medium from both a conceptual and practical perspective.
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Identify the stages and professional roles involved in the production process of audiovisual messages (Preproduction, Production, and Postproduction).
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Analyze audiovisual messages by identifying the key elements and fundamental concepts of audiovisual narrative, such as scenes, sequences, and dramatic progression.
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Acquire knowledge of the technological foundations and basic operation of digital recording and editing equipment for both audio and video.
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Develop original ideas through feasible exercises adapted to the resources and timeframe of the course, culminating in practical audiovisual assignments and the collaborative production of a short documentary film.
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Apply creative skills to make informed expressive decisions in the treatment of audiovisual language, specifically in the collective production of a short documentary.
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Recognize the value of teamwork as an essential component of audiovisual production.
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Cultivate critical awareness and aesthetic sensitivity, enabling students to observe their own surroundings and identify their potential for documentary representation of reality.
Competences/Learning outcomes of the degree programme
- 02 CG - The ability to learn and act an autonomously and responsibly
- 07 CG - The ability to confront difficulties and resolve problems
- 14 CE - The ability to plan technical and human resources
- 28 CE - The ability to understand and apply production and editing techniques for newspaper, radio, television and Internet
- 32 CE - Knowledge and mastery of the image and its communicative abilities
- 45 CE - The ability and capacity to give a creative form to a journalistic message
- 52 CE - The ability to adapt to changing circumstances
Learning outcomes of the subject
Students will be able to:
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Master the elementary codes of audiovisual language at both a theoretical and practical level.
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Navigate a professional environment with autonomy and responsibility.
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Work with confidence and professionalism during single-camera recording processes.
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Edit video content, having acquired the necessary knowledge of digital video editing software.
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Apply narrative resources with critical judgment to produce coherent and engaging audiovisual products.
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Carry out the complete process of cataloging, logging, and capturing images and sound for their organization during the editing workflow.
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Synchronize video and audio into a final master file, the result of a comprehensive digital editing process, ensuring that the product meets all technical standards and broadcast specifications.
Syllabus
- Audiovisual codes
- Fragmentation of time and space
- Frame composition and visual characteristics
- Spatiotemporal coordinates: shot scales, axis of action, shot/reverse shot
- Fundamental concepts of lenses and optics
- Focus and depth of field
- Optical movements
- Camera movements
- Properties and characteristics of sound
- Basic classification of microphones
- Basic units of audiovisual structure and storytelling (shot, sequence, scene)
- Dramatic structure as the foundation of the audiovisual narrative
- Principles of unity, rhythm, and sequencing
- Techniques for writing literary and technical screenplays
- Organization and classification of audiovisual materials
- Editing principles: continuity and raccord
- Introduction to digital audio and video editing and post-production
- The role of the spoken word: voice-over and text within the audiovisual message
Teaching and learning activities
In person
Theoretical-Practical Course
First Part: Theoretical-Lectures aimed at delivering course content and providing theoretical and conceptual frameworks.
-Viewing and critical analysis of audiovisual material to identify the application of concepts, techniques, and expressive and narrative resources.
-Practical exercises and short film projects designed to apply the content covered in class.
Second Part: Practical-Introduction to the use of audiovisual recording and editing equipment, which students are expected to reinforce and complement autonomously in parallel with class activities.
-The practical learning process of the course relies on students taking an active role in their own training, while instructors act as facilitators and guides to help achieve the established objectives.
*** Students are required to bring headphones and an external hard drive or a USB storage device with sufficient capacity to class, particularly for the practical components of the course.
| 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. | 0,8 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 1,2 |
| E-learning. Virtual learning based on ICT. | 0,6 |
| 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). | 0,6 |
| 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. | 0,8 |
Evaluation systems and criteria
In person
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30% — Theoretical Assessment. Based on the content covered in lectures and guided readings.
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40% — Short Documentary Project Development. Weighted average of the following components: presentation of the initial project proposal, progress in developing the treatment, and practical exercises completed in class. This grade also incorporates evaluation of attendance, class participation, attitude, and overall engagement.
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30% — Practical Module. Average of exercises in camera work, editing, sound, and related technical skills. Assessment also considers attendance, participation, respectful conduct, and collaboration.
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Final Exam — Submission of the Short Documentary. Students who obtain a grade of 5 or higher in the theoretical assessment are exempt from the theoretical component of the final exam and may pass the course solely by submitting a passing short documentary. Students scoring below 5 on the theoretical assessment must take a written theoretical examination. The final grade will be the average of the theoretical exam and the documentary project. If the student obtains less than 5 in either component, they must sit for the retake examination.
-Achieve a minimum grade of 5 in each of the assessment components above.
-Maintain regular attendance.
-Demonstrate a proactive attitude, active class participation, and genuine engagement with classmates’ presentations.
-Show autonomy and rigor in meeting deadlines and adhering to work guidelines.
** Except for activities where explicitly required, the use of laptops, tablets, or mobile phones during class is prohibited. Students must take handwritten notes in a personal notebook specifically intended for this purpose.
** The instructor reserves the right to invalidate the audiovisual project grade if a student fails to meet the minimum requirements of attendance, initiative, and participation throughout the process.
** The Faculty’s regulations regarding spelling accuracy, plagiarism, AI-generated work, and other academic misconduct will be strictly enforced.
Second Examination Period
The Retake Examination will account for 100% of the final grade and will cover the entire course content: lectures, group presentations, in-class screenings, and required readings.
If the short documentary received a grade below 5, an improved version must also be submitted during this period.
From the third examination period onward, students will be required to retake the course in full.
Bibliography and resources
RECOMMENDED BIBLIOGRAPHY
AUMONT, Jacques. Estética del Cine. Paidós, Barcelona, 1985.
BAZIN, André. ¿Qué es el cine?. Rialp, Madrid, 2001.
BARROSO, Jaime. Realización Audiovisual. Madrid: Síntesis, 2008.
CANET, Fernando. et al. Narrativa audiovisual: estrategias y recursos. Madrid: Síntesis, 2009.
CASETTI, Francesco. Teorías del Cine. Cátedra, Madrid, 2000.
CASETTI, Francesco. Cómo analizar un film. Barcelona. Paidós, 1991.
CASTILLO, José María. Televisión, Realización y Lenguaje Audiovisual. Madrid: Ed. RTVE, 2022.
CASTILLO, José María. Elementos del Lenguaje Audiovisual. Madrid: IORTV, 2002.
CURY, Iván. Dirección y producción en televisión. Un enfoque basado en el formato. Andoain, Guipúzcoa: Escuela de Cine y Video, 2009.
EISENSTEIN, Sergei. Teoría y Técnica cinematográficas. Rialp. Madrid, 2002.
FELDMAN, Simón. Guion Documental, guion argumental. Gedisa. Barcelona, 1996.
GARCÍA, Jesús. Narrativa Audiovisual. Cátedra, Madrid, 1996.
GUERIN, Anne Marie. El relato cinematográfico. Paidós, Los pequeños cuadernos de “Cahiers du Cinéma”. 2004.
HUET, Anne. El Guion. Los pequeños cuadernos de “Cahiers du Cinéma”. 2006.
KULECHOV, Lev. Tratado de la realización cinematográfica. Buenos Aires: Futuro, 1956.
LOISELEUX, Jacques. La Luz en el Cine. Paidós, Los pequeños cuadernos de “Cahiers du Cinéma”. 2005.
MARTÍNEZ, José y FERNÁNDEZ DÍEZ, Federico. Manual básico de lenguaje y narrativa audiovisual. Barcelona: Paidos, 1999.
PALACIO, Manuel; ZUNZUNEGUI, Santos. El Cine en la era del Audiovisual. De la colección “Historia General del Cine”, Vol. XII. Ed. Cátedra. Madrid, 1995.
PINEL, Vincent. El Montaje. El espacio y el tiempo del film. Paidós, Los pequeños cuadernos de “Cahiers du Cinéma”. 2004.
RODRÍGUEZ, Angel. La Dimensión Sonora del Lenguaje Audiovisual. Barcelona: Paidós, 1998.
SIETY, Emmanuel. El Plano en el origen del Cine. Paidós, Los pequeños cuadernos de “Cahiers du Cinéma”. 2004.
TARKOVSKI, Andrei. Esculpir en el tiempo. Rialp. 1991.
VANOYE, Francis. Guiones Modelo y Modelos de Guion. Paidós. Barcelona, 1996.
VILLAFAÑE, Justo. Principios de teoría general de la imagen. Pirámide. Madrid, 1996.
VILLAIN, Dominique. El encuadre cinematográfico. Paidos. Barcelona, 1997.
ZUNZUNEGUI, Santos. Pensar la imagen. Madrid: Cátedra, 1992.
SUPPLEMENTARY BIBLIOGRAPHY
AUMONT, Jacques. La imagen. Paidós, Barcelona, 1992
BORDWELL, David. El significado del film. Editorial Paidós, Barcelona, 1995.
BOURDIEU, Pierre. Sobre la Televisión. Anagrama, Barcelona, 1997.
BRAVO, Raymond. Producción y dirección de Televisión. Limusa, 1993
DIMAGGIO, Madeline. Escribir para televisión. Paidós, 1992.
DELEUZE, Giles. La imagen movimiento. Paidós. Barcelona, 1984.
DELEUZE, Giles. La imagen tiempo. Paidós, Barcelona, 1982.
DONDIS, Donis A. La sintaxis de la imagen. Barcelona: G. Gili, 1976.
JULLIER, Laurent. El Sonido en el Cine. Paidós, Los pequeños cuadernos de “Cahiers du Cinéma”. 2007.
MARÍN, Carles. Periodismo audiovisual. Información, entretenimiento y tecnologías multimedia. Barcelona: Gedisa, 2006.
MARTÍNEZ, José y VILA I FUMÁS, Pere. Manual básico de tecnología audiovisual y técnicas de creación, emisión y difusión de contendios. Barcelona: Paidos, 2004.
MILLERSON, Gerard. Manual de producción en video. Paraninfo, 1995.
MILLERSON, Gerard. Técnicas de realización en cine y televisión. IORTV, 1982.
SARTORI, Giovanni. Homo Videns. La sociedad teledirigida. Taurus. Madrid, 1998.
VILCHES, Lorenzo. La televisión: los efectos del bien y el mal. Paidós, 1995.
VILCHES, L. La Lectura de la Imagen. Barcelona: Paidós, 1995.
ADDITIONAL LEARNING MATERIALS
Tutorial de Cámara UIC:
https://www.youtube.com/watch?v=9O8L_fFRG6g&t=14s
Tutorial Uso Trípode:
https://www.youtube.com/watch?v=QGDwpvBxuSI
Tutoriales de Edición:
https://www.youtube.com/watch?v=qBetwWKIZVU
https://www.youtube.com/watch?v=qO1uHC_YxO4
https://www.youtube.com/@FilmEditingPro
Tutorial Iluminación Básica:
https://youtu.be/e-hd5oNlipo?si=5f3Ev3uhBgiI8GOn