Universitat Internacional de Catalunya
Audiovisual Narrative II
Other languages of instruction: Spanish
Teaching staff
By appointment via e-mail: afernandezm@uic.es
10-15 minutes after the end of the on-site classes.
Introduction
Narrativa Audiovisual es una asignatura de 4 créditos ECTS que se imparte durante el primer semestre del segundo curso del grado en Comunicación Audiovisual.
El aprendizaje de la escritura de ficción clásica es uno de los pilares de la comprensión del lenguaje audiovisual. Sus fórmulas y leyes, dentro de la elasticidad y las excepciones, pueden extenderse desde la elaboración de largometrajes hasta la de otros formatos como el cortometraje o las series de televisión que adaptan la fórmula de los tres actos. No sólo el estudiante de guión, sino el de cualquier especialidad del proceso de producción, en especial el estudiante de producción, dirección y postproducción, deben tener conocimientos de guión, que al fin y al cabo es la base del edificio audiovisual.
Pre-course requirements
Haber cursado previamente y adquirido los conocimientos básicos en la asignatura de Narrativa Audiovisual en primer curso de Comunicación Audiovisual.
Objectives
Proporcionar al alumno desde las clases teóricas, el análisis y el trabajo práctico los conocimientos indispensables para elaborar estructuras de cualquier obra audiovisual clásica y de género, especialmente largometrajes de ficción. Que el alumno obtenga un conocimiento de la filosofía que origina y da forma a estas estructuras, de forma que esta habilidad analítica le sea útil de cara a su trabajo como guionista o como lector avanzado de un guión elaborado por terceros.
Competences/Learning outcomes of the degree programme
- 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
- 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
- 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
- 19 - The ability of informative documentation
- 20 - Knowledge and mastery of bibliographic media
- 21 - Knowledge and mastery of the digital culture
- 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
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 40 - The ability to defend and respect authorship and intellectual property
- 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.
- 49 - The ability to write fluent texts, step outlines or scripts
- 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.
Learning outcomes of the subject
After taking the course, students will have acquired knowledge that will help them to study the majority of subjects related to the audiovisual world, especially advanced scriptwriting, directing, editing and post-production and also production. Advertising and television programme subjects will also benefit from the knowledge acquired in this course.
Syllabus
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Making the invisible visible in a film script. Text and subtext. The visual motif.
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Space and characters. How space modulates and constructs the characters. The case of noir and comics.
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Writing time: the destruction of the chronological line.
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Characters: narrative perspective and voice-over.
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Mechanisms of film genres. Narrative structures and their application to the noir, comedy, drama and horror genres.
Teaching and learning activities
In person
| 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. | 0.6 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0.8 |
| E-learning. Virtual learning based on ICT. | 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. | 1.6 |
| Peer learning. The aim of this activity is to ensure that students gain the ability to analyse and be critical. One way of achieving this is by correcting their peers' exercises and results, etc. Each student will be evaluated twice: as both a recipient and a transmitter of critical knowledge. | 0.4 |
Evaluation systems and criteria
In person
Continuous assessment based on practical exercises to be handed in throughout the course. The practical exercises are divided into two blocks:
Block I. Joint practicals with the Post-production subject. The instructions for this block are posted on the subject's Moodle.
Trailer: 10%.
Dialogue: 15%.
Video Essay (filmed diary): 25%.
Block II. Writing and analysis exercises carried out throughout the course.
10% Individual exercise: Film analysis.
20% Group exercises. Writing a screenplay structure applied to film genres.
20% Active participation in class and attitude (respect, punctuality, teamwork, etc.).
In order to pass the course it is essential to have handed in all the practical exercises. UIC regulations on plagiarism and spelling will be applied.
Second sitting. Students must pass by handing in and passing the failed exercises.
Third and subsequent examinations. The course must be repeated.
Bibliography and resources
- BALLÓ, J., PÉREZ, X. (1997). La semilla inmortal. Barcelona: Anagrama.
- BALLÓ, J., PÉREZ, X. (2015). El mundo, un escenario. Shakespeare: el guionista invisible. Barcelona: Anagrama.
- CAMPBELL, J. (1993). El héroe de las mil caras. Psicoanálisis del mito. México: Fondo de Cultura Económica.
- CARRIERE, J. C. y BONITZER, P. (1991). The End. Práctica del guión cinematográfico. Barcelona: Paidós Comunicación.
- CARRIERE, J. C. (1997)“La película que no se ve”. Barcelona: Paidós Comunicación.
- CHION, M. (1995). Cómo se escribe un guión. Madrid: Ediciones Cátedra.
- CRUZ, C. (2014). Imágenes narradas. Cómo hacer visible lo invisible en un guion de cine. Laertes: Barcelona.
- FIELD, S. (1994). El libro del guion. Madrid: Plot..
- GRAU, M. (2017). La mente narradora. La neurociencia aplicada al arte de escribir guiones. Barcelona: Laertes.
- MCGILLIGAN, P. (2003). Backstory 3. Conversaciones con guionistas de los años 60. Madrid: Plot Ediciones.
- MCGRATH, D., MACDERMOTT, F. (2003). Guionistas Cine. Barcelona: Océano.
- MITRY, J. (1989). “Estética y psicología del cine”. Siglo Veintiuno Editores. Madrid.
- SEGER, L. (1991). “Cómo convertir un buen guión en un guión excelente”. Ediciones Rialp. Madrid.
- SIMÓN, C. y VILARÓ, A. (2022). Alcarràs. Una història sobre la terra, la pagesia i la família. Barcelona: La Magrana.
Complementary Bibliography
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EISENSTEIN, S. (1989). Teoría y técnica cinematográficas. Madrid: Rialp.
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RAMOS, J. (2003). MARIMÓN, J. “Diccionario del guión audiovisual”. Océano. Barcelona.
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TARKOVSKY, Andrei. “Esculpir en el tiempo”. Ediciones Rialp. Madrid, 1991.
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TRUFFAUT, François. “El cine según Hitchcock”. Ediciones Akal. Madrid, 1991.