Universitat Internacional de Catalunya

Audiovisual Narrative II

Audiovisual Narrative II
4
8543
2
Second semester
OB
Audiovisual Creation
Narrativa audiovisual II
Main language of instruction: Catalan

Other languages of instruction: Spanish

Teaching staff


Mrs. IBÁÑEZ MONFORTE, Raquel - ribanez@uic.es

By appointment via e-mail: ribanez@uic.es

 

Introduction

Audiovisual Narrative II is the continuation of Audiovisual Narrative I and is conceived as a transitional course between theoretical reflection on storytelling and the practice of audiovisual writing. The subject deepens the study of fiction from a threefold perspective: analytical, critical and creative, combining the analysis of audiovisual texts with the development of original narrative proposals.

Once the foundations of the mechanisms of fiction, narrative techniques and story construction have been established, the course focuses on how to bring stories to the screen. Throughout the semester, students will work on the art and craft of audiovisual storytelling, developing a personal perspective and a critical attitude that enable them to explore the transformative potential of stories.

Pre-course requirements

Having previously completed and acquired basic knowledge of audiovisual narrative in the first semester of the second year of the Bachelor’s Degree in Audiovisual Communication, as well as an introductory foundation in analysis and writing.

Objectives

To provide students, through theoretical classes, analysis, screenings, practical writing assignments and creativity dynamics, with the necessary knowledge to develop stories in different audiovisual formats. To encourage regular viewing and writing habits, understanding that audiovisual screenwriting is not based solely on creativity, but also on discipline and rewriting. To develop analytical skills and reflective thinking in order to build a personal perspective as a screenwriter.

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

By the end of the course, students will have acquired solid viewing and writing habits that will enable them to independently approach the analysis and development of audiovisual narratives. They will be able to apply narrative tools and critical criteria to understand, evaluate and construct stories in different formats, while fostering creativity in the design and development of their own narrative proposals, as well as reflecting on their creative decisions in both individual and collaborative processes. Furthermore, they will develop a critical and personal perspective, essential for positioning themselves in a conscious and responsible way within the contemporary audiovisual industry.

Syllabus

1. Introduction. The art of storytelling: making the invisible visible
Text and subtext. Show, don’t tell. The B story.

2. Professional screenplay format
Conventions and standards of audiovisual writing.

3. Genres, structure and plots: the importance of endings

4. Space and time: the character on stage

5. Narrator, point of view and style

6. Dialogue in audiovisual storytelling

7. How is a screenplay pitched and sold?
Tagline, logline, storyline and synopsis.

8. “With great power comes great responsibility”: the transformative power of stories

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



First sitting

The assessment of the course will be carried out through continuous assessment, based on the completion of practical analysis and writing exercises submitted throughout the semester, as well as on active participation in classroom dynamics.

  • 50% Writing and analysis exercises carried out in class (5 assignments).
    A minimum grade of 5 is required in order to calculate the average with the final exam.

  • 30% Final exam.
    A minimum grade of 4 is required in order to calculate the average with the practical component.

  • 20% Class participation grade.
    Assessment of active participation, involvement in work dynamics and other exercises, monitoring of the creative process, and collaborative work developed throughout the course.

The practical exercises will be carried out exclusively during class hours or according to the specific instructions of each assignment. Attendance is compulsory in order to complete and submit the exercises. In case of absence, an official justification will be required in order to reschedule the assignment.

All assignments must be submitted in professional screenplay format, through Moodle, in the designated sections. In order to be assessed, they must meet the formal requirements specified for each exercise.

The regulations of UIC Barcelona regarding plagiarism, use of sources, unguided use of AI, and spelling and grammatical accuracy will be applied. Responsibility for authorship and the writing process of the submitted work lies with the students.

Second sitting (June)

  • 100% Final exam

Third and subsequent sittings

  • 100% Final exam

Bibliography and resources

Required filmography

  • The Man Who Shot Liberty Valance (John Ford, 1962, USA)

  • El verdugo (Luis García Berlanga, 1963, Spain)

  • Ikiru (Akira Kurosawa, 1952, Japan)

  • It’s a Wonderful Life (Frank Capra, 1946, USA)

  • El sexto sentido (M. Night Shyamalan, 1999, USA)

  • Memento (Christopher Nolan, 2000, USA)

  • Paris, Texas (Wim Wenders, 1984, Germany)

  • La ventana indiscreta (Alfred Hitchcock, 1954, USA)

  • El padre (Florian Zeller, 2020, United Kingdom)

  • El apartamento (Billy Wilder, 1960, USA)

  • Before Sunrise (Richard Linklater, 1995, USA)

  • Cléo de 5 à 7 (Agnès Varda, 1962, France)

  • Cuentos de Tokio (Yasujirō Ozu, 1953, Japan)

  • Ladrón de bicicletas (Vittorio De Sica, 1948, Italy)

  • Ida (Paweł Pawlikowski, 2013, Poland)

  • Drive (Nicolas Winding Refn, 2011, USA)

  • Romería (Carla Simón, 2025, Spain)

 

Bibliography:


- 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

  • EISENSTEIN, S. (1989).  Teoría y técnica cinematográficas. Rialp. 

  • RAMOS, J. (2003). MARIMÓN, J. “Diccionario del guión audiovisual”. Océano. 

  • TARKOVSKY, Andrei. (1991). “Esculpir en el tiempo”. Ediciones Rialp.

  • TRUFFAUT, François. (1991). “El cine según Hitchcock”. Ediciones Akal.  


 Webgrafía  

Abc guionistas, el portal del guionista.

http://www.abcguionistas.com/

Blog de cine.

http://www.blogdecine.com/

Bloguionistas

http://bloguionistas.wordpress.com/

Club de escritura (concursos y convocatorias)

https://clubdeescritura.com/

Escritores

http://www.escritores.org/index.php

Me gusta escribir (red social)

https://megustaescribir.com/

The 100 greatest American Films from all time by American Film Institute

http://www.afi.com/100years/movies10.aspx

The 50 Greatest Films of All Time by Sight and Sound.

http://www.bfi.org.uk/news/50-greatest-films-all-time


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