Audiovisual Production I belongs to the subject Realization and Edition, within the field Audiovisual Projects. These subjects provide know-how related to production, design, filmmaking, postproduction and audiovisual edition. Students will learn production strategies that will allow them to get involved in audiovisual projects from its conception to its finalization.
Audiovisual Production I focuses on the different stages of pre-production, production and post-production as well as on the agents involved in each process. It will be an initial approach to the development of audiovisual projects that will has its natural continuation in the subject Audiovisual Production II. At the same time, the interest on how new technologies and media have triggered radical changes in production modes will be essential to the proper execution of technical and creative tasks required by other subjects included in the main subject Audiovisual Projects.
Course competences | |
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Code | Description |
CB02 | Apply knowledge to the craft or vocation in a professional manner and possess the skills to develop and defend arguments and solve problems within the field of study. |
CB04 | Convey information, ideas, problems and solutions for both specialist and non-specialist audiences. |
CB05 | Develop the learning skills necessary to undertake further studies with a high degree of autonomy. |
CE21 | Apply the different audiovisual technologies and formats according to their expressive properties. |
CE22 | Know in a theoretical and practical way the techniques involved in the administration and management of audiovisual companies. |
CE23 | Define audiovisual projects, assume leadership, and plan and manage human, technical and budgetary resources in the different phases of production based on principles of social responsibility. |
CE24 | Know and apply the techniques for the design, management and development of multimedia and transmedia projects. |
CG02 | Develop creativity to take risks in the definition of research or creative topics from an innovative perspective that contributes to the knowledge, interpretation or development of audiovisual languages and/or formats. |
CG04 | Expose the results of academic work in writing, orally or by other means, in accordance with the canons of the communication disciplines. |
CG05 | Know the constitutional values, ethical principles and deontological rules applying to audiovisual communication. |
CG06 | Know the state of the world and its recent historical evolution as well as acquiring the concepts necessary for understanding its political, economic, technological and sociocultural dimensions in such a way that they serve as an instrument in the resolution of professional problems and challenges. |
CG07 | Acquire the ability to work in a team, face collective challenges and cooperatively solve problems, respecting the diversity of the participants and of their contributions. |
Course learning outcomes | |
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Description | |
Understand the evolution of the different genres of discourse and their specific languages as well as know the relevant authors or schools of thought. | |
Identify and describe the main approaches to the market performance, as well as analyse information on the national and international economic structure. | |
Understand consumption patterns in mass and digital media through social research and audience studies. | |
Additional outcomes | |
Description | |
Understand audiovisual production also as a field of research by approaching its tradition and the main topics. | |
Approach the aesthetics and politics implications of the different stages of production. | |
Develop and manage documentation related to the stages of pre-production and production. |
From the beginning of the semester, students will have a calendar that describes by weeks the contents and activities of the syllabus (available on Campus Virtual). Modifications could be applied to the programme in case it would be required by the proper development of the course.
Training Activity | Methodology | Related Competences (only degrees before RD 822/2021) | ECTS | Hours | As | Com | Description | |
Class Attendance (theory) [ON-SITE] | Lectures | CE22 CE24 CG02 CG05 CG06 | 1.72 | 43 | N | N | ||
Group tutoring sessions [ON-SITE] | Combination of methods | CB02 CB04 CB05 CE21 CE23 CE24 CG02 CG04 CG05 CG07 | 0.6 | 15 | N | N | ||
Writing of reports or projects [OFF-SITE] | Case Studies | CB02 CB04 CB05 CE22 CE23 CE24 CG02 CG04 CG07 | 1.44 | 36 | Y | Y | ||
Writing of reports or projects [OFF-SITE] | Reading and Analysis of Reviews and Articles | CB04 CE22 CG02 CG04 CG05 CG06 | 1.08 | 27 | Y | Y | ||
Final test [ON-SITE] | Assessment tests | CB02 CB04 CB05 CE21 CE22 CG04 | 0.08 | 2 | Y | Y | ||
Study and Exam Preparation [OFF-SITE] | Combination of methods | CB05 CE22 CG04 | 1.08 | 27 | Y | N | ||
Total: | 6 | 150 | ||||||
Total credits of in-class work: 2.4 | Total class time hours: 60 | |||||||
Total credits of out of class work: 3.6 | Total hours of out of class work: 90 |
As: Assessable training activity Com: Training activity of compulsory overcoming (It will be essential to overcome both continuous and non-continuous assessment).
Evaluation System | Continuous assessment | Non-continuous evaluation * | Description |
Final test | 30.00% | 50.00% | |
Assessment of problem solving and/or case studies | 30.00% | 30.00% | |
Theoretical papers assessment | 30.00% | 20.00% | |
Oral presentations assessment | 10.00% | 0.00% | |
Total: | 100.00% | 100.00% |
Not related to the syllabus/contents | |
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Hours | hours |
Writing of reports or projects [AUTÓNOMA][Case Studies] | 36 |
Writing of reports or projects [AUTÓNOMA][Reading and Analysis of Reviews and Articles] | 27 |
Final test [PRESENCIAL][Assessment tests] | 2 |
Study and Exam Preparation [AUTÓNOMA][Combination of methods] | 27 |
Unit 1 (de 7): The field of audiovisual production | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 9 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 3 |
Unit 2 (de 7): Professional roles involved in production | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 3 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 1 |
Unit 3 (de 7): Creative and technical tasks: their connections | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 3 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 1 |
Unit 4 (de 7): Project's conception and production contexts | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 10 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 4 |
Unit 5 (de 7): Design and production stages: documentation and basic tools | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 9 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 3 |
Unit 6 (de 7): Distribution and commercialisation stages: exhibition windows | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 6 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 2 |
Unit 7 (de 7): The complex transmedia field | |
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Activities | Hours |
Class Attendance (theory) [PRESENCIAL][Lectures] | 3 |
Group tutoring sessions [PRESENCIAL][Combination of methods] | 1 |
Global activity | |
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Activities | hours |
General comments about the planning: | This programme could be adapted and modified in case of extraordinary measures related to the COVID-19 pandemic. Even in that unexpected situation, activities as well as evaluation percentages would be tried to be maintained as similar as possible to the described ones. |
Author(s) | Title | Book/Journal | Citv | Publishing house | ISBN | Year | Description | Link | Catálogo biblioteca |
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Banks, Miranda, Bridget Conor, Vicki Mayer (eds.) | Production Studies: The Sequel! Cultural Studies of Global Media Industries. | Libro | Nueva York | Routledge | 2016 | ||||
Bernardo, Nuno | The Producer's guide to transmedia : how to develop, fund, produce and distribute compelling stories across multiple platforms | Libro | beActive books | 2011 | |||||
Cabezón, Luis Alberto; Gómez-Urdá, Félix G. | La producción cinematográfica | Libro | Madrid | Cátedra | 2004 | ||||
Campos Rabadán, Minerva | El Pampero Cine: producir al margen y otros modos de subversión | 2018 | El Pampero Cine: producir al margen y otros modos de subversión, en Archivos de la Filmoteca, nº76, 2019, pp. 145-166. | http://archivosdelafilmoteca.com/index.php/archivos/article/view/655 | |||||
Cancho, Nuria; García, Marco | Planificación de proyectos audiovisuales | Libro | Madrid | Altaria | 2017 | ||||
Cascajosa, Concepción | El ascenso de los showrunners creación y prestigio crítico en la televisión contemporánea | 2016 | Index.comunicación: Revista científica en el ámbito de la Comunicación Aplicada, ISSN-e 2174-1859, Vol. 6, Nº. 2, 2016 (Ejemplar dedicado a: TV Series. Ficciones de nuestro tiempo), págs. 23-40 | https://dialnet.unirioja.es/servlet/articulo?codigo=5511317 | |||||
Dwyer, Paul | Understanding Media Production | Libro | Nueva York | Routledge | 2019 | ||||
Fernández Heredero, Carlos (ed.) | Industria del cine y el audiovisual en España. Estado de la cuestión. 2015-2018. | Informe realizado por el festival de Málaga, descargable | Gráficas La Paz | 2019 | https://festivaldemalaga.com/Content/source/img/superdestacados/20200401110850_159_super_destacado_descarga.pdf | ||||
Francés i Domenech, Miquel; Orozco Gómez, Guillermo. (coord.) | Documentación y producción transmedia de contenidos audiovisuales | Libro | Síntesis | 2019 | |||||
Linares Palomar, Rafael; Fernández Manzano, Eva. (Coord.) | Principios Basicos De La Produccion Audiovisual Cinematografica 4ª Ed. | Omnpress | 2019 | ||||||
MacKenzie, Scott | Film Manifestos and Global Cinema Cultures: A Critical Anthology | Libro | University of California Press | 2014 | |||||
Martínez Abadía, José; Fernández Díaz, Federico | Manual del productor audiovisual | Barcelona | UOC | 2010 | |||||
Marzal Felici, Javier y Francisco Javier Gómez Tarin (coords.) | El productor y la producción en la industria cinematográfica | Universidad Complutense | 2009 | https://dialnet.unirioja.es/servlet/libro?codigo=398095 | |||||
Mayer, Vicki, Miranda J. Banks, John Thornton Caldwell (eds.) | Production Studies. Cultural Studies of Media Industries. | Libro | Nueva York | Routledge | 2009 | ||||
Millerson, Gerald | Realización y producción en televisión | Libro | Madrid | Omega | 2009 | ||||
Riambau, Esteve y Casimiro Torreiro | Productores en el cine español. Estado, dependencias y mercado. | Libro | Madrid | Cátedra | 2008 | ||||
Romaguera i Ramió, Joaquim; Homero Alsina Thevenet (eds.) | Textos y Manifiestos del Cine. Estética. Escuelas. Movimientos. Disciplinas. Innovaciones | Libro | Madrid | Cátedra | 1989 | ||||
Sainz, Miguel | Manual básico de producción en televisión | Libro | Madrid | IORTV | 1995 | ||||
Seguí, Isabel | Auteurism, Machismo-Leninismo, and Other IssuesWomen¿s Labor in Andean Oppositional Film Production | Artículo de revista | 2018 | Auteurism, Machismo-Leninismo, and Other Issues Women's Labor in Andean Oppositional Film Production, en Feminist Media Histories, 4(1): 11-36 | http://dx.doi.org/10.1525/fmh.2018.4.1.11 | ||||
Seguí, Isabel | Las mujeres del grupo UKAMAU: dentro y fuera de la pantalla | Artículo de revista | 2019 | Las mujeres del grupo UKAMAU: dentro y fuera de la pantalla, en Secuencias. Revista de historia del cine, nº 49-50, pp. 33-56 | https://revistas.uam.es/secuencias/article/view/secuencias2019_49-50_002/12441 | ||||
Torrado Morales, Susana; Ródenas Cantero, Gabriel;Ferreras Rodríguez, J. Gabriel. (editores) | Territorios transmedia y narrativas audiovisuales | Libro | Barcelona | UOC | 2017 | ||||
Watkins, Peter | ¿Directores, festivales y represión¿, en La crisis de los medios. | Capítulo de libro | Logroño | Pepitas editorial | Directores, festivales y represión, en La crisis de los medios. Logroño: Pepitas editorial, pp. 105-132 | ||||
Écija Bernal, Hugo (dir); Sánchez Bleda, Pilar; Viñuela Norberto, Marta (coord). | Libro blanco del audiovisual : cómo producir, distribuir y financiar una obra audiovisual | Libro | Madrid | ExportFilm | 2000 |