Titular Professors
The student understands the creative processes used in the creation of artistic audiovisual products.
The student knows the visual and audiovisual language.
The student understands the foundations of narrative and the dramatization of audiovisual and artistic productions.
The student is able to present oral and visually shaped ideas in the form of pitching.
The subject of visual narrative proposes a development around the narrative typologies that depend on a formal construction and filmic or audiovisual language. From this perspective, he addresses a study of the characteristics of language, such as montage, compositions and the use of color, as potential creators of narrative visual sotrytelling. Parallel to this theory of visual language, a historical journey is proposed on the forms of creation centered on visual imaginary as a means for narration: cinema, animation, construction of fictional and narrative worlds in interaction and "prosumer" environments such as Proposals on social networks.
Unit 1. The script
Unit 2. Parameters of the digital image
Unit 3. Editing and Storytelling
Unit 4. Composition and Storytelling
Unit 6. Building imaginary worlds
Unit 7. Nonlinear narratives
The course is divided into two fundamental parts of theoretical and practical follow-up.
The theoretical sessions present the contents and routes, both in relation to the history of audiovisual media as a creative field, the construction of fictional worlds and animation, as well as in the theories of audiovisual language and its connection with the narrative factor.
The practical sessions are articulated around the knowledge and deepening of certain softwares with which to put into practice the assumed contents: Adobe Premiere as an editing tool; Da Vinci Resolve as a color grading or color treatment tool; Adobe After Effects as a tool for video composition and 2D animation (Motion Design).
The practical sessions are also dedicated at specific times to other types of activity such as practices with video material on the set (MEDIA LAB) and the follow-up sessions of the group projects that are evaluated in the subject.
The evaluation of the subject consists of three fundamental parts: two group practices and an individual theoretical content exam. Each of these parts responds to the following criteria, descriptions and evaluation percentage:
- PRACTICE I: Visual poem (Group). The pre-production, filming and post-production of an audiovisual piece are proposed from which to build the visual metaphors necessary to convey a concept or idea. The subject is free to choose and the results are accompanied by a conceptual report that reflects a development of the subject and the production process. The evaluation is continuous and consists of the process of follow-up and development of the idea, visual references, script, production and result. Percentage on the global computation of the subject: 35%.
- PRACTICE II: Animatic 2D of characters (Individual). The design and illustration of a 2D character is proposed that must express or carry out an action through the animation of its compositional elements in After Effects. The objective is to transmit the storytelling through the expressiveness of the character, his action and work with the rhythm and context of the sequence. The continuous evaluation of the project consists of the process of conceptualization and references and conceptualization of the character, its turn around, the preparation of the animation layers and the approach to the animation in After Effects. Percentage on the global computation of the subject 35%.
- THEORETICAL EXAM: The theoretical exam will consist of a test with theoretical development questions and analysis on the theoretical and language contents developed in the subject. Percentage on the global count: 20%.
- ATTENDANCE AND PARTICIPATION: A final percentage of the evaluation is based on attendance (not from the point of view of attendance, but from involvement in class) and active participation in the development of the classes. Percentage on the global count: 10%.
BOURRIAUD, Nicolas. Postproducción. Ed. Adriana Hidalgo, Buenos Aires, 2014.
CROOK, I., & BEARE, P. (2017). Fundamentos del Motion Graphics. Principios y prácticas de la animación gráfica. Barcelona: Promopress, 2017.
DELEUZE, Gilles (1984). La imagen-movimiento: Estudios sobre cine I. Barcelona: Paidós.
DELEUZE, Gilles (1987). La imagen-tiempo: Estudios sobre cine II. Barcelona: Paidós.
EISENSTEIN, Serguei (2001). Hacia una teoría del montaje. Volumen 1. Barcelona: Paidós.
EISENSTEIN, Serguei (2001). Hacia una teoría del montaje. Volumen 2. Barcelona: Paidós
HELLER, Eva (2004). Psicología del color. Cómo actúan los colores sobre los sentimientos y la razón. Barcelona: Ed. Gustavo Gili.
McGEE, Robert (2009). El guion: sustancia, estructura, estilo y principios de la estructura de guiones. Barcelona: Alba Ed.
SANCHEZ-NAVARRO, Jordi (2020). La imaginación intangible: una historia esencial del cine de animación. Barcelona: Ed. UOC.
WELLWA, P. (2009). Fundamentos de la animación. Editorial Parramón,
WOLF, M. (2012). Building Imaginary Worlds: the theory and history of subcreation. New York: Routledge.