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OFFICIAL PROGRAM
2016 / 17

SUBJECT

Introduction to Cinema and Television

ECTS CREDITS6,00
SUBJECT CODEBICMTV
LANGUAGE IN WHICH IT IS GIVENCatalan  Spanish  
STUDIES
CODE
DEGREE
TYPE
YEAR
SEMESTER
GCTV
Grau en Cinema i Televisió
Compuls.
Second
----
GFCC
Tronc comú ciències de la comunicació
Compuls.
Second
----
GPME
Grau en Periodisme
Compuls.
Second
----
GPRP
Grau en Publicitat i Relacions Públiques
Compuls.
Second
----

PREREQUISITES

None

PREVIOUS KNOWLEDGE

None

SUBJECTS TO BE TAKEN SIMULTANEOUSLY

None

SUBJECT DESCRIPTION

The course Introduction to Cinema and Television lays the foundations for the study of audiovisual representation. In this sense, it introduces the student to the fundamentals of film, television and digital audiovisual languages. Cinematographic language is said to be one of the prevailing languages in contemporary communication, made up by film, television and new digital media. Once a framework for understanding contemporary languages is established, we will analyze their particular manifestations as well as their market.

The course is divided in three blocks to facilitate the learning of the main competences: first, a core group that looks into the language and its structures as well as the market, in a contemporary context; and second, two learning units that delve into the fundamental aspects addressed in the core group (new scenarios of the audiovisual industry and editing as the basis of cinematographic language).

Students of the disciplines of communication including film studies and television as well as journalism, advertising and public relations, will find in this course, the basic theoretical and methodological principles of audiovisual communications. On the one hand, this will make the omnipresent contemporary culture of image more comprehensible, and on the other hand, it will introduce the student to their respective fields of study that are directly related to film, television and new digital media —these being aspects that are further developed in the specific courses of each degree.

Within the curriculum, this course represents the consolidation of the student’s knowledge of audiovisual and narrative stories previously acquired in Seminars II and III. This will allow the student to specialize in audiovisual communication related to journalism, advertising and public relations. For students of film studies and television, this course allows them firstly to further develop the professionalized and specialized practice of Seminar IV, and, secondly, to delve into the theoretical and historical framework, and the economic and professional structure of film and television in the third and fourth courses.

COMPETENCES

The competences establish the learning objectives of Introduction to Cinema and Television, and thus they set the assessment criteria for the course (see “Criteria for evaluating results”).

Competence 1 of block 4:

1. Knowledge and application of resources, elements, methods and procedures in the construction and the analysis of audiovisual stories.

1.1 Knowledge of and capacity to analyze cinematographic language, in particular, editing as an essential tool in audiovisual stories [Core group and Learning Unit 2].

Competence 2 of block 4:

2. Theoretical and practical knowledge of the organizational structures in the audiovisual industry, as well as its development and management over time [Core group and Learning Unit 1].

Competence 7 of block 4:

3. Understanding theories, methods and problems of audiovisual communication and its language [Core group and Learning Unit 2].

Competence 10 of block 4:

4. Knowledge of the history and evolution of photography, film, radio and television through both their aesthetic and industrial schemes.

4.1 Knowledge of the transition from analogue to digital, and of digital audiovisual formats, as well as the aesthetic and industrial implications which resulted [Learning Unit 1].

Competence 11 of block 4:

5. Understanding and application of the techniques and processes of production and distribution of audiovisuals in their various stages [Learning Unit 1].

Competence 12 of block 4:

6. Knowledge of the spatial image and of the iconic representations in space, as well as some concepts in artistic direction [Core group).

CONTENTS

Core group

1. The audiovisual story: Language

a. Audiovisual and story

b. Basic units of the audiovisual narrative: shot, scene, sequence, long take

c. Technology of image

d. Filmic space and time: staging, continuity, editing

e. The sound: concept, typology and technology

2. The audiovisual story: Structures

a. Audiovisual production and the contemporary viewer

b. Audiovisual genres: expectations and generic hybridization

c. Universal plots and patterns: structural analysis of the story

d. Basic narrative structures: the identification of the viewer

e. Digital cinema: production and reception of the audiovisual spectacle

3. Context of Audiovisual Communication

a. Models of reality representation

b. Discourse and story: from fiction to documentary

c. Image and ideology: the problems of representation

4. The audiovisual market

a. Structure of the audiovisual market

b. The professions in film and television

c. Models of production and distribution in film and television

Learning Unit 1: New scenarios of the audiovisual industry

1. The contemporary audiovisual sector

2. New formats: web-series, web-docs and others

3. Transmedia and cross-media

4. Marketing and new windows

5. Entertaining narratives

6. New audiences and the role of criticism

Learning Unit 2: Editing

1. Introduction to the theory and practice of editing

2. The editing of transparency: from space to time

3. “The genre effect”: thriller, horror, comedy, action, musical

4. The long take

5. Rhetoric of editing: informative, documentary, poetic

6. Altered formats, fragmented screens

METHODOLOGY

The methodology of the course is based on the relation between the core group and the learning units in terms of different learning spaces.

In the core group, the theoretical description is complemented by readings of selected texts and viewings that will be commended on in class. The student must apply the acquired knowledge to specific exercises.

Learning Unit 1 deals with the new scenarios of the contemporary audiovisual industry, particularly the changes prompted by the digital visual culture in the sector in terms of production and new professions, such as distribution, new windows, reception and new audiences.

Learning Unit 2 deals with editing from a theoretical-practical perspective by viewing a series of examples from films, television, and new digital media so as to illustrate the main concepts and practices of the audiovisual language through editing.

Core group

a. Lectures

b. Individual exercises in class

c. Individual exercises outside class

d. Group exercises in class

e. Group exercises outside class

f. Reading of texts

g. Viewings of audiovisual material

h. Participation in class

i. Exam

Learning Units

a. Individual exercises in class

b. Individual exercises outside class

c. Group exercises in class

d. Group exercises outside class

e. Reading of texts

f. Viewings of audiovisual material

g. Participation in class

EVALUATION

The overall grade of the course will be the result of three partial grades:

1. Core group, 60% of the course, divided between:

- Final written exam: 40%

- Evaluation of exercises: 20%

This group is a single unit. The student will not be able to sit the exam if he/she has not submitted the exercises requested by the professor. If the student fails to deliver a minimum of 70% of the exercises, he/she will receive a no-show grade, and will not be able to sit either the first or the second sitting of the exam.

If the student fails the Core Group exam or does not take the final the exam (but has completed minimum 70% of the exercises that give him/her the right to take it), there will be a second sitting of the exam. This will still count for 40% of the final grade, as the grade from the exercises done during the course will be maintained .

2. Learning unit 1:

- Evaluation of exercises: 20%

The evaluation of Leaning Unit 1 consists of one exercise: the analysis of a typical audiovisual product from the new scenarios of the audiovisual industry. The teacher will indicate what specific products or types of products can be analyzed.

It is an exercise done in groups of two students.

If the student does not participate in the class activities indicated by the teacher, that student will receive a no-show grade and the student will not be able to sit the re-evaluation.

Re-evaluation:

If the student fails the learning unit, there will be a re-evaluation to re-sit that part of the course.

3. Learning unit 2:

- Evaluation of exercises: 20%

The evaluation of Leaning Unit 2 consists of one exercise: an illustrated commentary on the editing of an audiovisual piece.

It is an exercise done in groups of two students.

If the student does not participate in the class activities indicated by the teacher, that student will receive a no-show grade and the student will not be able to sit the re-evaluation.

Re-evaluation:

If the student fails the learning unit, there will be a re-evaluation to re-sit that part of the course.

General criteria:

Under no circumstances can the student pass the course if the content of the core group and the learning units have not been passed separately. The student can only get a re-evaluation for the part of the course which was failed. If the student does not pass the re-evaluation, this means that the student has failed the whole course, and he/she must take the course again during the next academic year and pass the final exam for the three blocks of the course.

Once the three blocks have been passed, the final grade will be the result of the average based on the percentages indicated above. It the average is above 5, but the student has failed one of the blocks, the grade will be a 4.

CRITERIA OF EVALUATION OF RESULTS

The evaluation of this course will be based on the following parameters:

Core group

A. Written exam


B. Evaluation of individual exercises

C. Evaluation of group exercises

D. Evaluation of reports on readings

Learning units

B. Evaluation of individual exercises

C. Evaluation of group exercises

Criteria for evaluating results:

Competence 1

1. Knowledge and application of resources, elements, methods and procedures in the construction and the analysis of audiovisual stories.

1.1 Knowledge of and capacity to analyze cinematographic language, in particular editing as an essential tool in audiovisual stories.

The student must demonstrate knowledge of audiovisual language for the analysis of the contemporary audiovisual stories and specially for cinematographic editing [A, B, C, D].

Competence 2

2. Theoretical and practical knowledge of the organizational structures in the audiovisual industry, as well as its development and management over time.

The student must demonstrate knowledge of the models of reality representation in audiovisual stories, from their changes over time and the implications resulting from these changes [A, B, C, D].

Competence 3

7. Understanding theories, methods and problems of audiovisual communication and its language.

The student must demonstrate theoretic knowledge of cinematographic language relating to the construction of space and time in audiovisual productions, as well as the mechanisms for the construction of narrative structures [A, B, C, D].

Competence 4

10. Knowledge of the history and evolution of photography, film, radio and television through their aesthetic and industrial schemes.

10.1 Knowledge of the transition from analogue to digital, and of digital audiovisual formats, as well as the aesthetic and industrial implications which resulted.

The student must demonstrate knowledge of contemporary visual formats, in particular the transition from analogue to digital and its aesthetic and industrial implications [B, C].

Competence 5

11. Understanding and application of the techniques and processes of production and distribution of audiovisuals in their various stages.

The student must demonstrate knowledge of contemporary audiovisual market structure in film, television and the new media [A, B, C, D].

Competence 6

12. Knowledge of the spatial image and of the iconic representations in space, as well as elements of artistic direction.

The student must demonstrate knowledge of the construction of the cinematographic space [A, B, C, D].

BASIC BIBLIOGRAPHY

Core group

Compulsory bibliography

1. Language

"Cine y relato", en Gaudreault, A.; Jost, F. El relato cinematográfico. Cine y narratología. Barcelona: Paidós, 1995. Pp. 25-45.

“El montaje, mi hermosa inquietud” (Jean-Luc Godard), en Baecque, A. (comp.) (2001):Teoría y crítica del cine. Avatares de una cinefilia.Barcelona: Paidós (2005). Pp. 33-35.

“De la abyección” (Jacques Rivette), en Baecque, A. (comp.) (2001):Teoría y crítica del cine. Avatares de una cinefilia.Barcelona: Paidós (2005). Pp.36-38.

2. Structures

“El lenguaje preverbal del cine”; “¿Qué es una historia?” en Mackendrick, A.:On Film-making. Manual de escritura y realización cinematográfica.Ediciones Jaguar. Madrid. 2013. Pp. 40-56.

“Capítulo 11. Dial M for Murder…” en Truffaut, F.:El cine según Hitchcock.Alianza Editorial. Barcelona, 1974. Pp.183-202.

3. Context

De Felipe, F.; Gómez, I.Adaptación. Barcelona: Trípodos, 2008:"Videojuegos de cine", pp. 207-253.

Tresserras, M. "El relat impossible:Lost highwayde David Lynch". A:Trípodos(2002), n. 12, pp. 35-46.

De Felipe, F.: “El ojo resabiado (de documentales falsos y otros escepticismos escópicos)” (Fernando de Felipe), en Hispano, A.; Sánchez-Navarro, J. (eds.) (2001):Imágenes para la sospecha. Falsos documentales y otras piruetas de no ficción.Barcelona: Glénat. Pp. 31-58.

4. Markets

“El cine en los conglomerados multimediáticos”, en RIAMBAU, E. Hollywood en la era digital. De Jurassic Park a Avatar. Madrid: Cátedra, 2011.

Compulsory viewings

Citizen Kane (Ciudadano Kane, O. Welles, 1941)

Rashomon (A. Kurosawa, 1950)

Vertigo (De entre los muertos, A. Hitchcock, 1958)

Back to the Future (Regreso al futuro, R. Zemeckis, 1985)

Pulp Fiction (Q. Tarantino, 1994)

Learning Unit 1

SCOLARI, C.A.Narrativas transmedia. Cuando todos los medios cuentan.Bilbao: Deusto, 2013.

A requisite for the learning activity is to read information to expand on some of the topics dealt with in the course. In class, the lecturer will specify which topics must be expanded upon and indicate the corresponding readings to do so.

Learning Unit 2

Compulsory bibliography

“Una práctica de análisis integrado”, en Sánchez-Biosca, V.El montaje cinematográfico. Teoría y análisis.Barcelona: Paidós, 1996, pp. 263-280.

"Capítulo segundo: Posiciones de cámara sobre sujetos en movimiento" y "Capítulo tercero: Posiciones de cámara sobre sujetos quietos", en Sánchez, R.C. (1970): El montaje cinematográfico. Arte de movimiento. Barcelona, Pomaire. Págs. 109-152.

A requisite for the learning activity is to read information to expand on some of the topics dealt with in the course. In class, the lecturer will specify which topics must be expanded upon and indicate the corresponding readings to do so.

BIBLIOGRAPHY AND MATTER COMPLEMENTARY

Core group

ALTMAN, R.Los géneros cinematográficos.Barcelona: Paidós, 2000.

AUMONT, J.Análisis del film.Barcelona: Paidós, 1990.

AUMONT, J.Estética del cine. Espacio fílmico, montaje, narración, lenguaje.Barcelona: Paidós, 1996.

BAECQUE, A. (comp.)Teoría y crítica del cine. Avatares de una cinefilia.Barcelona: Paidós, 2005.

BALLÓ, J.; PÉREZ, X.La semilla inmortal.Barcelona: Anagrama, 1995.

BAZIN, A.¿Qué es el cine?Madrid: Rialp, 2006.

BORDWELL, D.:La narración en el cine de ficción.Barcelona: Paidós, 1996.

Burch, N. (1970). Praxis del cine. Madrid, Fundamentos.

CAMARERO, G.(ed.).La mirada que habla (cine e ideologías).Madrid: Akal, 2002.

CASCAJOSA, C.C.El espejo deformado. Versiones, secuelas y adaptaciones en Hollywood. Sevilla: Universidad de Sevilla, 2006.

Cousins, M. (2002). Scene by Scene. London, Laurence King Publishing Ltd.

DE FELIPE, F.; GÓMEZ, I.Adaptación. Barcelona: Trípodos, 2008.

DELEYTO, C. (2003):Ángeles y Demonios. Representación e ideología en el cine contemporáneo de Hollywood.Barcelona: Paidós.

Eisenstein, S.M. (1991). Teoría y técnica cinematográfica. Madrid, Rialp.

FIGGIS, M.El cine digital. Barcelona: Alba Editorial, 2007.

METZ, Ch. Ensayos sobre la significación en el cine. Volumen 1: 1964-1968. Barcelona: Paidós, 2002.

MILLER, T.; GOVIL, N.; MCMURRIA, J.; MAXWELL, R.:El Nuevo Hollywood. Del imperialismo cultural a las leyes del márketing.Barcelona: Paidós, 2005.

Murch, W. (2003). En el momento del parpadeo. Madrid: Ocho y medio.

Niqui, Cinto.Fonaments i usos de tecnologia audiovisual digital. Barcelona: Editorial Uoc, 2007.

LIPOVETSKY, G.La pantalla global. Cultura mediática y cine en la era hipermoderna.Barcelona: Anagrama, 2009.

QUINTANA, A.:Fábulas de lo visible. El cine como creador de realidades.Barcelona: El Acantilado, 2003.

STAM, R.Teorías del cine: Una introducción.Barcelona: Paidós, 2001.

Reisz, K. (1966). Técnica del montaje. Madrid, Taurus.

CREATE BY:   
Lluís Anyó Sayol
DATE OF THE LAST REVIEW22/07/2016