Description
Intellectual and practical development of the concept "VISUAL NARRATIVE" Substance that defines the close relationship between idea and reality, between sender and receiver, between subject and object. Channels where history has been portrayed over time will be analyzed; From Rock Paintings to The Age of Play and the Notion of Postmodern Hyperreality. Students will develop their own ideas in 3 seminars and two projects. Scenarios where a project synthesis behavior will be implemented based on the principles on which the "STORYBOARD" technique is structured Targets: 1- Transform creative and cultural thinking into a docile tool of communication and persuasion. 2- Facing a Briefing: Understand it and ask the appropriate questions to conceptualize within the parameters defined by it 3- Sharpen ingenuity and creativity 4- Capacity of abstraction and materialization 5- Understand the limits of the languages worked during all the sessions (two-dimensional sketch, two-dimensional and multicolored collage, three-dimensional postcard, space) 6- Narrative capacity: dilation and synthesis.
Type Subject
Tercer - Obligatoria
Semester
First
Course
2
Credits
4.00

Titular Professors

Josep Vicent Arlandis Rubio
Professor
Previous Knowledge
Objectives

RA83 The student is able to apply a systematic and creative approach to the development of digital products and services.
RA84 The student is enriched with his creative and reflective capacity.
RA85 The student is able to express ideas and concept through drawing.
RA86 The student is able to express narrative ideas through storyboard from a previous script.

Contents

BLOCK 1
intellectual substance
1. Explanation of the subject
Definition of Visual Narrative and general references: Approach to creativity and the StoryBoard
2. Creativity as an intangible concept
3. Analysis of channels where the story has been portrayed; From Cave Paintings to The Age of Play and the Notion of Postmodern Hyperreality.

BLOCK 2
intellectual substance
seminars with Angela Amorós Aparici
04. StoryBoard, theory and canonical definition-
05. Industry benchmarks I (Film, Comics and Advertising)
06. Industry benchmarks II (Art and video games)

BLOCK 3
intellectual substance
seminars with Israel Jiménez Álvarez
07. Language: Concept, image and subject
08. Seduction and repulsion; from Màlevich to Warhol
09. Third phase of capitalism: Bulimia of the image
BLOCK 04
intellectual substance
seminars with Daniel / N13L
10. Language II: Dreamlike and tralleta
11. Postmodern reality
12. Entertainment: 24h industry.

PROJECT 1
THE ART OF FOUND FOOTAGE
Intellectual substance
Practical condition with Inés Boffi.
13. The importance of editing
14. Manipulation as has radiography
15. The modality of ideas and the creation of reality from their fragmentation

PROJECT 2
SPATIAL NARRATIVE
Intellectual substance
Practical condition with Pablo Turrent
16. Space: the architecture of the installation
17. Curatorship of the space; Chaos, order and abstraction
18. Ways and formats of inhabiting space

Methodology

Magistral
Theoretical content that will provide arguments for the title of each session.
It does not weigh
25 hours distributed in 15 sessions approx.

Seminars
Development of practical and less academic knowledge. Collaborating teachers allow us to "professionalize" the content.
The seminars are grouped into 3 blocks of 3 sessions each.
Weight 60% of the grade
25 hours distributed in 12 sessions approx.

* At the beginning of each block, the full professor together with the relevant collaborator will give a briefing to the students. A project challenge that must be solved in 3 sessions (6 hours in the classroom and 18 hours outside the classroom)

Projects
Development of practical and less academic knowledge. Collaborating teachers allow us to "professionalize" the content.
Projects are grouped into 2 blocks of 5 sessions each.
Weight 40% of the grade
50 hours distributed in 10 sessions approx.

* At the beginning of each project, the full professor together with the relevant collaborator will give a briefing to the students. A project challenge that must be solved in 5 sessions (25 hours in the classroom and 25 hours outside the classroom)

Evaluation

Seminars (x3 - B2 / B3 / B4)
60% of the grade

At the end of each seminar the students will deliver the result of the project carried out in the course of the same where the collaborating professor, together with the titular professor will apply a correction with a numerical conclusion -from 1 to 10-
Each of the 3 seminar exercises corresponds to the same percentage (B2-20% / B3-20% / B4-20%)

Projects
40% of the grade

Suspend the subject
The student must submit the 3 seminars and the 2 projects to be able to pass the subject. If an exercise is not delivered on the stipulated date, this exercise may be delivered at the end of the semester with penalties defined with the student.
To pass the subject, the average work must be equal to or greater than 6/10.
There is no retake of this subject outside the semester in which it is taught.

Job improvement
Once the exercises have been corrected in the first delivery, students will be able to improve them and hand them in again at the end of the semester. The terms of the assessment will be the same, although only the full professor will be involved in this second correction.
The improvement will never exceed 2 points and cannot exceed a 10/10.
Upload note
Optionally, if you want to raise your grade, you can do so through extra work at the end of the term. This weighs 10%.
* Only those with a grade higher than 5.99 will be able to choose to do this work. It is a job to increase the grade and not a measure to be able to pass the subject.

Evaluation Criteria
Basic Bibliography

1. Aristoteles (primera edición 2004). POÉTICA. Alianza Editorial, S.A. Madrid , 2004 - 2008

2. Andre Bretón [L’ART MAGIQUE - Édition Phebus - 1991]. EL ARTE MÁGICO. Ediciones Atlanta, S.L. Gerona. 2009

3. Nazario Luque Vera. LA VIDA COTIDIANA DEL DIBUJANTE UNDERGROUND. 1ªedición: junio 2016.
Editorial Anagrama 2016, S.A. 2016

4. Marion Charreau / Jenifer L. Jhonson. PIENSA Y COMUNICA TUS IDEAS CON THE STORYBOARD METHOD. Primera edición Septiembre de 2019.
Penguin Random House Grupo Editorial. Barcelona 2019.

5. Ellen Lupton. [DESIGN & STORYTELLING - Cooper Hewitt - 2017]. EL DISEÑO COMO STORYTELLING.
Editorial Gustavo Gili, SL 1a edición 2nda tirada 2019 Barcelona

6. Enrique Bordes. CÓMIC, ARQUITECTURA NARRATIVA. 1ª edición 2017. Ediciones Cátedra (Grupo Anaya, S.A.) 2017 Girona

7. Raymond Queneau. EJERCICIOS DE ESTILO. 1ª edición 1987.
Ediciones Cátedra (Grupo Anaya, S.A.), 2019

8. John Berger. [WAYS OF SEEING] MANERES DE MIRAR- 1ª edición diciembre 2011.]
Edicions 1984 (de bat a bat). Barcelona 2019

9. Enric Jardí. PENSAR CON IMÁGENES.
GUSTABO GILI, 1ªEdición 8ªtirada 2019 Barcelona

10. Gilles Lipovetsky. [LE BONHEUR PARADOXAL - Edition Gallimar, París 2006]. LA FELICIDAD PARADÓJICA.
Editorial Anagrama, S.A., 2007. Barcelona
11. Marc Augé. [LE TEMPS EN RUINES-Edition Galilée, 2003] EL TIEMPO EN RUNAS. Editorial Gedisa S.A. 2013, Barcelona

12. Agustón Fernández Mallo. TEORÍA GENERAL DE LA BASURA (CULTURA, APROPIACIÓN, COMPLEJIDAD)
Galaxia Gutemberg, S.L, 2018. Barcelona

13. Marc Augé. [LE TEMPS EN RUINES-Edition Galilée, 2003] EL TIEMPO EN RUNAS
Editorial Gedisa S.A. 2013, Barcelona

14. Agustón Fernández Mallo. TEORÍA GENERAL DE LA BASURA (CULTURA, APROPIACIÓN, COMPLEJIDAD)
Galaxia Gutemberg, S.L, 2018. Barcelona

15. Boris Groys. [GOING PUBLIC - Caja Negra Editorial 2014] VOLVERSE PÚBLICO.
Caja Negra editorial 2016. Barcelona

16. Rem Koolhas. [DELIRIOUS NEW YORK - 1978] DELIRIO DE NUEVA YORK.
Edición Gustabo Gil, 1ª redición, 9ª Tirada 2016. Barcelona

Additional Material