History and Genres of Audiovisual Media (20359)
Degree/study: Degree in Advertising and Public Relations
Year: first
Term: 2nd
Number of ECTS credits: 6 credits
Hours of studi dedication: 150 hours
Teaching language or languages: spanish
Teaching Staff: Rosa Alvarez Berciano
1. Presentation of the subject
The course "History and Genres of Audiovisual Media" is a compulsory subject in the first degree course in Advertising and Public Relations. As such, it offers a journey through the moments, movements, authors and achievements that have marked the audiovisual media, both traditional analogic and digital generation. For better development by the student, the course will have a theoretical and practical approach, and introduce conceptual tools and instruments for the analysis of the different achievements of the audiovisual production and reception. The approach to the different contents will be done from different and complementary disciplinary perspectives, as may be the aesthetic and cultural, or industrial, technological and institutional. The goal is for the student progress in acquiring knowledge and analytical tools that will facilitate better understanding of the nature of these media and their accomplishments, regarded both as singular works or elements of the media system defined in each age.
2. Competences to be attained
General skills:
1. Ability to research, selection and critical evaluation of sources and documentation conform to the achievement of the objectives.
2. Ability to read and analyze materials in different formats.
3 Capacity of practical application of knowledge and analytical tools acquired during the course.
4. Self-learning ability.
5. Ability to critically analyze their own contributions and those of classmates.
6. Ability to develop its own discourse from the foreground.
7. Ability to plan work and group discussions, as well as to collect and interpret relevant data.
8. Ability to identify and correct mistakes.
9. Ability to communicate one's ideas and thoughts clearly and concisely.
10. Ability to draw conclusions consistent with that developed along the proposed work.
11. Ability to set the context in which the scanned object falls.
Specific competencies:
1. Absorptive ability of knowledge developed by the subject, both presented in large group classes, as developed in the seminars, as well as readings and viewings from mandatory.
2. The ability to relate topics and concepts, and their application to the cases analyzed throughout the development of the subject.
3. Identification of those defining moments in the development of the media.
4. Recognition of relationships established within the system formed by the different media co-present at any given time.
5. Ability to project in time realities and achievements of the media.
6. Subject to the methodology and objectives.
3. Contents
Unit 1
The beginnings of cinema. Realities, topics and prejudices. Interpretative keys of the first representations of the moving image.
Unit 2
The development of an industry and a language: David Wark Griffith.
Hollywood production model: the study and policy-factory
gender.
Unit 3
Vanguards. Movements and European filmmakers. Contemporary and projected impact of representative-narratives innovations.
Unit 4
Entry into the sound era. Categories and sound codes. Keys to understanding the work in the audiovisual composition.
Unit 5
Classical Hollywood style and model deviations and implosions. Forms of cinematic realism and new cinemas in Europe.
Unit 6
Emergence of home entertainment: television. Culture and market criteria: European model and the U.S. model. Cinema in the age of television: differentiation and cooperation.
Unit 7
Reinventing Hollywood. From the studio system to media conglomerates. Rethinking traditional genders. Concern for formal experimentation and the market.
Unit 8
New broadcasting technologies and the effects on the production and reception. Narrative strategies arising from the complexity and competition in the new media system. Specialization and audiences federation. Conservatism and innovation in new audiovisual proposals.
Unit 9
Non-fiction forms. The impact of direct cinema on television entertainment. Fiction-nonfiction hybridations.
Unit 10
Strategies for spectator's involvement within traditional media and within the dynamics of the new media.
Unit 11
Narrativity and interactivity. Tensions of serial narrative in the new digital and interactive framework. New ways of organizing and structuring the narrative in the age of videogames.
4. Assessment
The evaluation will be based on three procedures, following the structure of the course:
1. A final written test consists of questions that evaluate short absorption theory and especially the applicability and reflection by students. The student will consider the practical examples referred to the theme discussed in class (large group and seminars).
50%
2. The seminars will provide the methodology, conceptual apparatus and analytical tools necessary to develop the student's research. Practices in seminars, performing together for the kind of large group, will be developed with the teacher. Following each seminar will be implementd a practical test of material worked jointly by teacher and students. The test will work outside the classroom, to be delivered through the Global Classroom within a specified time each week.
25%
3. Evaluation of the cursework. Course work will be a work in progress developed from the workshop practices. The work will consist in analyzing audiovisual fragments, based in the theoretical and practical knowledge acquired during the quarter. The analysis will be done on a guide provided by the teacher.
25%
The final evaluation will result from the assessment made by the three contributions, which, as we said before, mainly reflect the demonstration of practical skills acquired throughout the course.
To pass the course, each of these contributions (cursework seminars, test) must achieve a minimum passing (5 out of 10). That is, there will be not average of the three assessments if each part is not exceeded.
The delivery of assigned work will the last day of class. Necessary condition to the exam.
The evaluation of the seminars will be the result of:
1. Attendance at the seminar sessions.
2. Attend to seminars with readings and viewings proposed for each day.
3. Participation, provided the share reflects the application of foreground argued or reasoned personal contribution.
4. Participation and debate proposed practices in seminars.
The evaluation of the examination will be considered:
1. The absorption of the knowledge acquired from the course, both presented in large group classes, as developed in the seminars, and readings from mandatory viewings.
2. The ability to relate to themes and concepts, and their application to the cases analyzed along the development of the subject.
3. The ability to clearly and concisely explain the answer to these questions.
The coursework assessment will consider:
1. The attachment to the methodology and objectives.
2. The domain and the ability of practical application of knowledge and analytical tools acquired during the course.
3. The ability to incorporate knowledge reflexively to find their own contributions.
4. The ability to organize the search for sources of information tightly to achieve the objectives.
5. The coherent structure of the work.
6. The ability to develop its own discourse from the foreground.
7. Conclusions consistent with that developed throughout the work.
Retest
Tests not passed will recover over 3rd quarter, on the date indicated. Each test - test, seminars, coursework - has its partial recovery.
Example: if a student has exceeded the seminars and course work, but will have to be submitted to the test of examination.
In the case of the seminaries, the recovery test includes material developed over the course of these seminars, with special emphasis on the cases analyzed in the classroom and practices outside of classroom.If you have not stood the test of course work, the recovery will be - in this case for the group - in the presentation of a new revised delivery, the result of the correction of errors and development approach.
5. Bibliography and teaching resources
5.1. Basic bibliography
Barnow, Erik. The Imatge Empire. A History of Broadcasting in the United States. Vol.III. Oxford University Press,1970.
Bazin, André. "La evolución del lenguaje cinematográfico", i "Una estética de la realidad: el neorrealismo", A: ¿Qué es el cine?, Madrid: Ediciones Rialp, S.A., 1966. Pàg. 122-140, i 433-460.
Bordwell, David; Janet Steiger i Kristin Thompson. El cine clásico de Hollywood,
Barcelona: Paidos, 1997. Cap.: "La formulación del estilo clásico, 1909-1928", pàg. 171-256; i "El modo de producción de Hollywood, 1930-1960", pàg. 347-369.
Burch, Noël. El tragaluz del infinito. Cátedra, 1991.
Egenfeldt, Simon et alt. Understanding Videogames. The Essential Introduction. Routledge, 2008.
Gitlin, Tod. Inside Prime Time. Nova York: Pantheon Books, 1983.
González Requena, Jesús. El discurso televisivo: espectáculo de la posmodernidad. Madrid: Cátedra, 1988; i "El dispositivo televisivo". Área Cinco, 2. Madrid, gener-abril 1993.
Sadoul, Georges. Historia del cine mundial desde sus orígenes. Mèxic:Editorial Siglo XXI, 1991.
5.2. Complementary bibliography
Aumont, J.;A. Bergala; M. Marie; M. Vernet, Estética del cine. Espacio fílmico, narración, lenguaje. Barcelona: Ediciones Paidós, 1985.
Álvarez Berciano, Rosa: "La era americana del reality show", Telos. Cuadernos de Comunicación, Tecnología y Sociedad, 43, setembre-novembre de 1995, pp. 63-71.
--"Retos narrativos en el nuevo escenario audiovisual", en La ficción audiovisual en España, Gedisa, Barcelona, 2012, pp. 17 a 40.
--"Tensiones de la narrativa serial en el nuevo sistema mediático", en Audiovisual 2.0. Narratives, recepció i consum en els nous hipertextos, Anàlisi, monogràfic 2011, pp. 51 a 65.
Balio, Tino. Hollywood in the Age of Television. Unwin Hyman, Inc., 1990.
Chion, Michel. El sonido. Barcelona: Paidós, 1999.
Daney, Serge. Le salaire du zappeur. Éditions Ramsay, 1988.
Gomery, Douglas. Hollywood: el sistema de los estudios. Madrid: Edita Verdoux S.L., 1991.
Hutcheon, Linda. A theory of Parody. The teaching of twentieth century art forms. Nova York: Methuen, 1985.
Kracauer, Siegfried. De Caligari a Hitler. Buenos Aires: Ediciones Nuevas Visión, 1961 [Paidós, 1985].
Nichols, Bill. La representación de la realidad. Barcelona: Paidós, 1997.
Schatz, Thomas. Hollywood Genres. Formulas, Filmmaking, and the Studio System. Austin: The University of Texas.
Truffaut, François. El cine según Hitchcock. Alianza Editorial, 1974
Bibliography specific mandatory reading for each topic:
The teacher promptly propose readings relative to each specific issue for the preparation and implementation of practices.
5.3. Teaching resources
Glossary of terms and concepts to bring to class and seminar (Global Classroom)
Audiovisual material presented in class, both large group and in the seminars.
Audiovisual material deposited in the library for the preparation and implementation of the practices.
PowerPoint presentations.
Digests booster texts related to the agenda developed.
7. Planning of activities
Learning activities through which the student achieves the competencies described above are listed below:
Activity in the large group sessions in the classroom.
Tracking the subject taught in large group classes involves teaching activity, but together with the participation of students.
Large group sessions will last two hours and include:
a) The teacher oral exposure
b) The illustration of the subject taught audiovisual materials, web links, stills, diagrams, graphs that can facilitate the assimilation of matter.
c) Guide the class in Power Point.
d) Dossier readings.
The large group session assumed by the student:
a) Attendance at classes
b) Reading the texts recommended for the construction of the framework, and viewing of audiovisual materials required.
c) Reading the supporting material (glossary, summaries prepared by the teacher).
d) Notice prior to the news, documents, files and links posted on the Global Classroom space.
e) Participation in the discussions in large group classes as proposals which vary from the clarification of concepts and case analysis.
The seminars will involve the following activities:
a) Attendance at the seminar sessions specified.
b) Work the material proposed by the teacher prior to each seminar and conducting practices outside the classroom ..
c) Develop the knowledge and analytical tools applied to the examples given in each session.
d) As a large group classes, seminars include student reflective activity, according to proposals which vary from the clarification of concepts and case analysis.