Universitat Internacional de Catalunya
Introduction to Audiovisual Language
Other languages of instruction: Catalan, English
Teaching staff
By appointment via email at plagos@uic.es
Introduction
“Introduction to Audiovisual Language” is a 3-ECTS-credit course taught during the first semester of the first year of the Bachelor’s Degree in Journalism. In this course, students will acquire a fundamental understanding of audiovisual language and the theoretical characteristics of the elements and principles that constitute its codes.
The course is designed to complement the first-year course “Filming.” Drawing on the basic recording and editing skills acquired in the latter course, and through work carried out outside scheduled class hours, students will complete practical exercises aimed at applying and reinforcing the competencies developed in both courses. In “Introduction to Audiovisual Language,” this process will culminate in the group production of a non-fiction audiovisual project, which must be submitted at the end of the course.
Together, “Introduction to Audiovisual Language” and “Filming” provide the essential foundations for the Audiovisual Journalism learning pathway. The knowledge and competencies acquired in these two courses are progressively developed and explored in greater depth throughout the degree programme in subsequent courses such as “Television News” —second year—, “Television Production and Directing” —third year—, “Documentary” —fourth year— and “The Language of Live Television” —fourth year—, as well as in elective courses such as “Audiovisual Reporting.”
Pre-course requirements
No prior knowledge of the audiovisual field is required, although a positive attitude and an interest in different types of audiovisual content are an advantage when undertaking the course.
Objectives
• Acquire a command of the basic codes of audiovisual language and introduce students to the audiovisual medium from a conceptual perspective.
• Identify the stages and professional roles involved in the production of audiovisual messages: pre-production, production and post-production.
• Analyse audiovisual messages by identifying fundamental elements and concepts of audiovisual narrative, such as scenes, sequences and dramatic progression.
• Develop original ideas through exercises that can be carried out with the resources and time allocated to the course, culminating in the group production of a non-fiction short film. Achieving this objective requires the technological foundations and basic operation of digital video recording and editing equipment that students will acquire in the “Filming” course.
• Apply creative skills to specific decisions concerning the expressive use of audiovisual language in the group production of a non-fiction short film.
• Recognise teamwork as an essential aspect of audiovisual production.
• Develop the sensitivity and critical perspective required to observe their own surroundings and discover their potential for the documentary representation of reality.
Competences/Learning outcomes of the degree programme
- CN01 - Recognise contemporary social and media realities, contextualise historical events, and identify newsworthy issues at local, national and international levels.
- CN02 - Identify the various stakeholders in contemporary journalism, their roles and the operational dynamics of a digital and globalised environment.
- CN05 - Define concepts and specialised journalistic terminology in English.
- CN06 - Recognise the principal artificial intelligence tools with applications in journalism.
- CP01 - Work effectively in professional journalism teams, adapting to multidisciplinary and changing environments.
- CP02 - Apply professional ethical principles and standards of academic rigour in journalism, recognising the current legal and ethical framework and respecting the fundamental right to equality between women and men, promoting human rights, a culture of peace and democratic values, including the use of inclusive, non-discriminatory and stereotype-free language.
- CP03 - Analyse audiences within the digital media ecosystem in order to develop content for diverse audiences.
- CP05 - Critically analyse national and international journalism in order to assess its influence on public opinion and current affairs.
- CP06 - Produce innovative, multi-platform journalistic content using narrative techniques and approaches specific to each medium and format.
- CP07 - Create innovative multimedia products by integrating graphic design, emerging technologies and elements of digital culture to communicate information in an engaging and accessible way across all devices.
- HB01 - Interpret relevant data obtained from a variety of sources.
- HB02 - Present and defend journalistic projects orally and in writing in Catalan, Spanish and English.
- HB03 - Transform information into engaging and aesthetically effective messages.
- HB04 - Use a range of media research and documentation resources.
- HB05 - Distinguish between information, opinion and manipulation, applying verification and source-checking techniques to debunk misinformation and identify content generated by artificial intelligence.
Learning outcomes of the subject
Students will be able to:
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Develop creativity to conceive innovative journalistic products.
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Communicate information and their own ideas persuasively, both orally and in writing.
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Identify different journalistic genres and formats, applying the appropriate linguistic style in each case and developing a distinctive expressive style.
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Master verbal and body language in front of a camera, an audience, or a public gathering, applying professional voice and presentation techniques to make an impact through their communication style.
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Recognise the functions and style of journalistic language.
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Develop concise and persuasive headlines that summarise content and provide greater depth on the subject matter.
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Write texts on any subject in a professional newsroom, using different forms of language, a personal expressive style, and an independent viewpoint.
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Master verbal and non-verbal communication techniques in live broadcasts, managing unforeseen situations and collaborating effectively with the production team, capturing the audience’s attention and ensuring clarity of information.
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Apply different advertising formats across various media, developing copywriting skills to produce persuasive texts, assessing appropriate advertising according to the client and product, and ensuring clarity, creativity, and ethical standards in the creation of advertising campaigns.
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Master voice and presentation techniques and the effective use of the voice, employing sound resources effectively, structuring and presenting radio programmes across different genres, and applying a clear and dynamic style adapted to the medium, while reflecting on the impact of radio language on audiences.
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. Ellipsis, rhythm, etc.
- The role of the spoken word: voice-over and text within the audiovisual message.
- The two main theories of editing (the Russian Formalist School and the French Realist School).
Teaching and learning activities
In person
Theoretical and Practical Course:
Theoretical Dimension.
— Lectures aimed at presenting course content and theoretical and conceptual frameworks.
— Viewing and critical analysis of audiovisual material to identify the application of concepts, techniques, and expressive and narrative resources.
— The course is based on the premise that students should play an active and central role in their own learning process, while teaching staff act as facilitators and guides in achieving the established objectives.
Practical Dimension.
— The course is designed to complement the “Filming” course, in which students will receive introductory training in the use of audiovisual recording and editing equipment. This knowledge must be reinforced and further developed independently and in parallel by the students themselves.
Evaluation systems and criteria
In person
30% Theoretical Test. Content covered in class and assigned reading.
30% Short Film Project Development. This grade is based on the average of the different submissions, including the presentation of the documentary short-film idea and the ongoing development of the treatment, script, and other project materials.
30% Audiovisual Analysis. Analysis of a work in order to identify its narrative structure, central conflict, dramatic development, scenes, sequences, and expressive uses of cinematic language.
10% Attendance, Class Participation, Attitude, etc.
Compulsory Examination40% Submission of a Documentary Short Film.
Students who obtain a grade of 5 or higher in the theoretical test will be exempt from the theoretical section of the examination. In other words, they will pass the course provided that they pass the non-fiction short film.
Students who obtain a grade below 5 in the theoretical test must sit a theoretical examination. The grade for this examination will be averaged in equal parts with the grade obtained for the non-fiction short film.
If a grade below 5 is obtained in either component, the student must sit the second examination session.
** To pass the course, students must:
— Obtain a minimum grade of 5 in each of the assessment components listed above.
— Attend classes.
— Demonstrate a proactive attitude and active involvement in the course, participate in class, and show interest in their classmates’ presentations, among other aspects.
— Demonstrate autonomy and rigour in meeting deadlines and following the established working guidelines.
** Except in activities that expressly require them, the use of computers, tablets, or mobile phones is not permitted during class. Students must take handwritten notes in a notebook reserved for this purpose.
** The lecturer reserves the right to fail a student in the audiovisual project assessment if the student does not meet the minimum requirements for attendance, initiative, and participation throughout the process.
** Faculty regulations concerning spelling mistakes, plagiarism, the use of artificial intelligence, and related matters will be strictly enforced.
Second Examination SessionThe resit examination will account for 100% of the final grade. It will assess all course content, including theoretical sessions, documentaries viewed in class, and compulsory readings.
If the documentary short film received a grade below 5, an improved version must also be submitted during this examination session.
Further Examination SessionsFrom the third examination session onwards, students will be required to repeat the course.
Bibliography and resources
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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.
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PALACIO, Manuel; ZUNZUNEGUI, Santos. El Cine en la era del Audiovisual. De la colección “Historia General del Cine”, Vol. XII. Ed. Cátedra. Madrid, 1995.
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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.
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ZUNZUNEGUI, Santos. Pensar la imagen. Madrid: Cátedra, 1992.