Titular Professors
Learning Outcomes of this subject are:
R80 The student understands the creative processes used in the creation of artistic
audiovisual products.
R81 The student knows the visual and audiovisual language
R82 The student understands the fundamentals of narrative and dramaturgy of
audiovisual and artistic productions.
R83 The student is able to present ideas orally and visually in the form of pitching.
Module 1: The "language" of cinema: Disquisitions on the audiovisual code.
The Soviet avant-garde and the origins of montage
The rhetoric of surrealist cinema
Presentation by Umberto Eco on the language of cinema (Eco, 1971)
Prose cinema and poetry cinema according to P. P. Pasolini (Pasolini & Romer, 1970)
The ontology of André Bazin's cinema (Bazin, 2004)
General film criticism (Mitry, 2002a, 2002b)
The semiology of the cinematographic image by R. Barthes (Barthes, 1986)
Module 2: Cinema and digital
Experimental cinema and "pure cinema" in the West
The concept of post-cinema (Machado, 2002)
Expanded Cinema (Youngblood, 1970)
The advent of video art (Fifer, 1990)
The "language" of new media (Manovich, 2002)
The technical image (Flusser, 2001, 2002)
Module 3: The static image and the moving image
Kinship relationships between painting and animation
Specificities of photography and moving images
Narrations with static images
Module 4: Audiovisual production (Transversal to previous modules)
Script writing techniques (theme/problem/conflict of a project)
Literary script, technical script and story-board
Organization of the production stages (pre-pro- and post-production)
Production equipment organization techniques
The role and technique of editing in audiovisual production
The role of distribution and audiovisual diffusion policies
Various teaching methodologies will be used in the subject. There will be, on the one
hand, master classes in which the teacher will introduce certain basic concepts about
language and audiovisual production - an exhibition accompanied by practical
references and bibliography. To consolidate the knowledge acquired in this section,
students, in the initial phase of the course, will develop limited exercises to finally guide,
halfway through the semester, all their efforts towards a final project where they will
transfer the knowledge acquired throughout the academic cycle.
MD 1: Master Class with the support of audiovisual material.
MD 2: Seminar.
MD 3: Flipped classroom.
MD 4: Project-based learning.
Standard evaluation:
The evaluation process will be carried out based on the following practical activities,
which will be delivered chronologically, within the deadline set by the teacher and based
on the specific instructions described on the e-study platform. The percentage in the
following table indicates the value of each activity (interpret 10% as moderately
significant, and 50% as highly significant)
Exercises / Final Project % Evaluation
1.Essay on audiovisual
language 10
2.Pre-project presentation 10
3.Script Presentation 10
4.Style Essay
(presentation of a scene
from the Final Project) 10
5.Editing (presentation of
the editing draft of the
Final Project) 10
6.Final project delivery 50
Special evaluation:
Students who do not pass the ordinary assessment have the option of passing the course
in the extraordinary assessment session provided that they hand in all the exercises and
projects carried out in the course throughout the semester
Criteria for standard and special evaluation:
In the event that the exams, exercises or works to be delivered by the student do not
present a correct written, grammatical and orthographic expression, the maximum grade
will be a 4.
If the conditions are not fulfilled for passing the convocation, the maximum grade will be
a 4.
The student will have the right to review the exam grade (evaluation) on the day assigned
by the professors. Upon this revision, the student?s grade may improve or decline.
Aub, M. (1985). Conversaciones con Buñuel. Madrid: Aguilar.
Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes, gestos, voces (C. F. Medrano,
Trans.). Barcelona: Paidos.
Bazin, A. (2004). ¿Qué es el cine? (J. L. L. Muñoz, Trans.). Madrid: Ediciones Rialp.
Buñuel, L. (1983). Luis Buñuel: Mi último suspiro (A. M. d. l. Fuente, Trans.).
Barcelona: Plaza Janes.
Eco, U. (1971). Sobre las articulaciones del código cinematográfico (A. M. Torres,
Trans.). In M. P. Estremera (Ed.), Problemas del nuevo cine
(pp. 78-108). Madrid: Alianza Editorial.
Eisenstein, S. (1961). Eisenstein Dessins Drawings. Moscú:
Tocydacmbehhoe uzdamerbcmbo.
Eisenstein, S. (2010). Sergei Eisenstein: Selected Works (Writings, 1922-
1934) (R. Taylor, Trans. R. Taylor Ed. Vol. 1). London: I. B. TAURI .
Fifer Jo S. & Hall D. Eds. (1990) Illuminating Video: An Essential Guide to Video Art.
London: Aperture Foundation.
Flusser, V. (2001). Una filosofía de la fotografía (T. Schilling, Trans.). Madrid: Síntesis.
Flusser, V. (2002). Filosofía del diseño: La forma de las cosas (P. Marinas,
Trans.). Madrid: Editorial Síntesis.
Machado, A. (2002). Pré-cinemas & pós-Cinemas. Sao Paulo: Papirus
ditora.
Manovich, L. (2002). Language of New Media. Cambridge: MIT Press.
Mitry, J. (2002a). Estética y psicología del cine 1: Las estructuras (R. P.
Mores, Trans.). Madrid: Siglo Veintiuno de España Editores.
Pasolini, P. P., & Romer, E. (1970). Cine de poesía contra cine de prosa (J.
Jordá, Trans.). Barcelona: Anagrama.
Shklovski, V. (1994 [1927]). Poetry and Prose in Cinema (R. Taylor, Trans.).
In R. Taylor (Ed.), The Film Factory: Russian and Soviet Cinema in Documents
1896-1939 (pp. 176-178). Londres: Routledge.
Tretiakov, S. (2006a). Our Cinema. October (118), 27-44.
Tretiakov, S. (2006b). The Theater of Attractions. October (118), 19-26.
Youngblood, G. (1970). Expanded Cinema. E.P. Dutton; 1st edition.