Guías Docentes Electrónicas
1. General information
Course:
TRANSMEDIA PROJECTS
Code:
16528
Type:
CORE COURSE
ECTS credits:
12
Degree:
401 - UNDERGRADUATE DEGREE PROGRAMME IN AUDIOVISUAL COMMUNICATION
Academic year:
2022-23
Center:
12 - FACULTY OF COMMUNICATION
Group(s):
30 
Year:
4
Duration:
AN
Main language:
Second language:
Use of additional languages:
English Friendly:
Y
Web site:
Bilingual:
N
Lecturer: JOSÉ IVÁN SAN JOSÉ VIECO - Group(s): 30 
Building/Office
Department
Phone number
Email
Office hours
Escuela Politécnica de Cuenca/0.01
SISTEMAS INFORMÁTICOS
4870
JoseIvan.SanJose@uclm.es

Lecturer: ANA SERRANO TELLERIA - Group(s): 30 
Building/Office
Department
Phone number
Email
Office hours
2.10
DPTO. EN CONSTITUCIÓN
4795
Ana.Serrano@uclm.es
They will be provided at the beginning of the course on the virtual campus and the faculty's bulletin boards.

Lecturer: CARLOS VALLE CASAS - Group(s): 30 
Building/Office
Department
Phone number
Email
Office hours
ARTE
Carlos.Valle@uclm.es

2. Pre-Requisites

Not established.

3. Justification in the curriculum, relation to other subjects and to the profession

The subject 'projects' ('audiovisual projects', 'ideation and creativity' and 'transmedia projects') aims to provide students with the knowledge and skills necessary to devise, plan and justify communication projects. Through the three subjects that make up the subject, the student will achieve the skills to develop all the phases of creating a communicative project from teamwork and transversal knowledge.

The subject 'ideation and creativity' for audiovisual projects includes basic aspects of any communicator: creativity, imagination and innovation. The other two, 'audiovisual projects' and 'transmedia projects' focus on two basic formats for the industry.

The subjects respond to a pressing need of the information market: to train communication professionals, in the field of theory and practice, capable of devising and executing audiovisual products adapted to a versatile and flexible digital communication environment.

The subjects are key in the context of audiovisual production since they enable the creation, dissemination and implementation of audiovisual journalistic and/or cinematographic products.

Its inclusion in the third and fourth year of the audiovisual communication degree is justified by establishing as a starting point the knowledge acquired by students in subjects previously studied.


4. Degree competences achieved in this course
Course competences
Code Description
CE12 Know, analyst and apply the mechanisms and elements of the construction of audiovisual narratives, regarding different genres, formats and audiovisual production technologies.
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.
CE25 Apply the techniques and processes of audiovisual production in different formats and media.
CE26 Analyse and implement marketing strategies for the development, distribution and consumption of market-oriented audiovisual products.
5. Objectives or Learning Outcomes
Course learning outcomes
Description
Apply digital animation technologies for the creation of 2D and 3D contents and spaces where virtual reality and augmented reality are applied.
Put into practice the essential elements of professional practice, including the ethical principles and legal responsibilities derived from audiovisual production.
Know the grammar and composition of the image and interpret and analyse iconic representations.
Know and manage the processes of documentation for the production of audiovisual content in the contemporary context.
Develop basic research skills.
Design, plan and execute audiovisual and transmedia projects.
Expose a topic in a correct and satisfactory way, as well as the results of the work.
Convey information and content by adapting and combining it to the most appropriate media, platforms and supports, simultaneously when necessary. 
Value diversity and interculturality as a basis for teamwork.
Acquire the working method of the project.
Additional outcomes
Not established.
6. Units / Contents
  • Unit 1: Conceptualization of transmedia. Terminological differentiation, principles and historical evolution.
  • Unit 2: Approach to the strategic use of the different genres, languages ¿¿and narratives used in transmedia through various media, platforms and supports.
  • Unit 3: Case studies. Transmedia as a form of expression in different contexts: advertising, news content, fiction, cultural content, etc.
  • Unit 4: Productive context: Producers, consumers and digital content creation platforms.
  • Unit 5: Identification of the strategies, resources and combination of formats adapted to the ecology of the media involved in the project.
  • Unit 6: Transmedia narrative techniques: Storyboard, non-linear.
  • Unit 7: Transmedia architecture and interface design.
  • Unit 8: Financing and marketing strategies for transmedia projects.
  • Unit 9: Presentation of projects, creative actions, etc.
  • Unit 10: Technological support: Introduction to graphic engines for transmedia applications.
ADDITIONAL COMMENTS, REMARKS

This subject is oriented towards carrying out transmedia projects and is focused on two aspects. An applied development of the project and complementary training through theoretical deepening seminars. The theoretical seminars will address the fundamentals of transmedia communication, addressing the following questions:

-Conceptualization of transmedia. Terminological differentiation, principles and historical evolution.

-Approach to the strategic use of the different genres, languages ¿¿and narratives used in transmedia through various formats, media, platforms and supports.

-Case studies. Transmedia as a form of expression in different contexts: advertising, news content, fiction, cultural content, etc.

-Productive context: producers, consumers and digital content creation platforms.

In the development of the applied transmedia project, all the phases involved must be attended to: pre-production, production and post-production. During the execution the following elements will be worked on:

- Identification of the strategies, resources and combination of formats adapted to the ecology of the media involved in the project.

- Transmedia narrative techniques: storyboard, non-linear script.

- Transmedia architecture and interface design.

- Financing and marketing strategies for transmedia projects.

- Presentation of projects: creative actions, dissemination strategies, etc.


7. Activities, Units/Modules and Methodology
Training Activity Methodology Related Competences ECTS Hours As Com Description
Workshops or seminars [ON-SITE] Workshops and Seminars CE23 CE24 CE25 CE26 2 50 Y N The teacher will explain the basic contents of the subject and will propose works to extend them based on the interests and needs of the students.
Class Attendance (practical) [ON-SITE] Guided or supervised work CE12 CE23 CE24 CE25 CE26 2.8 70 Y N The students will carry out the transmedia project with the guidance of the teacher.
Writing of reports or projects [OFF-SITE] Self-study CE12 CE23 CE24 CE25 CE26 7.2 180 Y Y The students will carry out the transmedia project autonomously.
Total: 12 300
Total credits of in-class work: 4.8 Total class time hours: 120
Total credits of out of class work: 7.2 Total hours of out of class work: 180

As: Assessable training activity
Com: Training activity of compulsory overcoming (It will be essential to overcome both continuous and non-continuous assessment).

8. Evaluation criteria and Grading System
Evaluation System Continuous assessment Non-continuous evaluation * Description
Final test 15.00% 15.00%
Portfolio assessment 70.00% 70.00% Elaboration and presentation of the Cross / Multi / Transmedia project.
Final test 15.00% 15.00%
Total: 100.00% 100.00%  
According to art. 4 of the UCLM Student Evaluation Regulations, it must be provided to students who cannot regularly attend face-to-face training activities the passing of the subject, having the right (art. 12.2) to be globally graded, in 2 annual calls per subject , an ordinary and an extraordinary one (evaluating 100% of the competences).

Evaluation criteria for the final exam:
  • Continuous assessment:
    The student must present a Cross / Multi / Transmedia project (70%) accompanied by the corresponding report (15%) and oral presentation (15%), also two final tests (15%+15%). The rules of plagiarism and common spelling correction for the Degree will be applied. This subject will apply the evaluation criteria agreed in the UCLM Evaluation Regulations, as well as the specific evaluation standards approved by the Center's Faculty Board.


    This planning may be adapted and slightly modified in the event that any extraordinary measure related to the COVID-19 health pandemic is undertaken. However, even in an unforeseen scenario, they will try to maintain the evaluation percentages with the maximum fidelity to what is indicated in this guide.

    Any student may switch to the non-continuous assessment modality as long as they have not participated during the class teaching period in assessable activities that together account for at least 50% of the total assessment of the subject. If a student has reached that 50% of evaluable activities or if, in any case, the class period has ended, they will be considered in continuous evaluation without the possibility of changing the evaluation modality.
  • Non-continuous evaluation:
    The student must present a Cross / Multi / Transmedia project (70%) accompanied by the corresponding report (15%) and oral presentation (15%), also two final tests (15%+15%). The rules of plagiarism and common spelling correction for the Degree will be applied. This subject will apply the evaluation criteria agreed in the UCLM Evaluation Regulations, as well as the specific evaluation standards approved by the Center's Faculty Board.


    This planning may be adapted and slightly modified in the event that any extraordinary measure related to the COVID-19 health pandemic is undertaken. However, even in an unforeseen scenario, they will try to maintain the evaluation percentages with the maximum fidelity to what is indicated in this guide.

    Any student may switch to the non-continuous assessment modality as long as they have not participated during the class teaching period in assessable activities that together account for at least 50% of the total assessment of the subject. If a student has reached that 50% of evaluable activities or if, in any case, the class period has ended, they will be considered in continuous evaluation without the possibility of changing the evaluation modality.

Specifications for the resit/retake exam:
The student must present a Cross / Multi / Transmedia project (70%) accompanied by the corresponding report (15%) and oral presentation (15%), also two final tests (15%+15%). The rules of plagiarism and common spelling correction for the Degree will be applied. This subject will apply the evaluation criteria agreed in the UCLM Evaluation Regulations, as well as the specific evaluation standards approved by the Center's Faculty Board.


This planning may be adapted and slightly modified in the event that any extraordinary measure related to the COVID-19 health pandemic is undertaken. However, even in an unforeseen scenario, they will try to maintain the evaluation percentages with the maximum fidelity to what is indicated in this guide.

Any student may switch to the non-continuous assessment modality as long as they have not participated during the class teaching period in assessable activities that together account for at least 50% of the total assessment of the subject. If a student has reached that 50% of evaluable activities or if, in any case, the class period has ended, they will be considered in continuous evaluation without the possibility of changing the evaluation modality.
Specifications for the second resit / retake exam:
The student must present a Cross / Multi / Transmedia project (70%) accompanied by the corresponding report (15%) and oral presentation (15%), also two final tests (15%+15%). The rules of plagiarism and common spelling correction for the Degree will be applied. This subject will apply the evaluation criteria agreed in the UCLM Evaluation Regulations, as well as the specific evaluation standards approved by the Center's Faculty Board.


This planning may be adapted and slightly modified in the event that any extraordinary measure related to the COVID-19 health pandemic is undertaken. However, even in an unforeseen scenario, they will try to maintain the evaluation percentages with the maximum fidelity to what is indicated in this guide.

Any student may switch to the non-continuous assessment modality as long as they have not participated during the class teaching period in assessable activities that together account for at least 50% of the total assessment of the subject. If a student has reached that 50% of evaluable activities or if, in any case, the class period has ended, they will be considered in continuous evaluation without the possibility of changing the evaluation modality.
9. Assignments, course calendar and important dates
Not related to the syllabus/contents
Hours hours

Unit 1 (de 10): Conceptualization of transmedia. Terminological differentiation, principles and historical evolution.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 2
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 2
Comment: You can vary the calendar and the teaching period of each subject depending on the development and needs of the students and their transmedia projects. Continuously and proactively applies theory to practice.

Unit 2 (de 10): Approach to the strategic use of the different genres, languages ¿¿and narratives used in transmedia through various media, platforms and supports.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 2
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 3

Unit 3 (de 10): Case studies. Transmedia as a form of expression in different contexts: advertising, news content, fiction, cultural content, etc.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 4.4
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 15

Unit 4 (de 10): Productive context: Producers, consumers and digital content creation platforms.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 5
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 20

Unit 5 (de 10): Identification of the strategies, resources and combination of formats adapted to the ecology of the media involved in the project.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 5
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 8.8
Writing of reports or projects [AUTÓNOMA][Self-study] 20

Unit 6 (de 10): Transmedia narrative techniques: Storyboard, non-linear.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 5
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 20

Unit 7 (de 10): Transmedia architecture and interface design.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 5
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 5
Writing of reports or projects [AUTÓNOMA][Self-study] 20

Unit 8 (de 10): Financing and marketing strategies for transmedia projects.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 5
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 8
Writing of reports or projects [AUTÓNOMA][Self-study] 20

Unit 9 (de 10): Presentation of projects, creative actions, etc.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 8.3
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 11.6
Writing of reports or projects [AUTÓNOMA][Self-study] 30

Unit 10 (de 10): Technological support: Introduction to graphic engines for transmedia applications.
Activities Hours
Workshops or seminars [PRESENCIAL][Workshops and Seminars] 8.3
Class Attendance (practical) [PRESENCIAL][Guided or supervised work] 11.6
Writing of reports or projects [AUTÓNOMA][Self-study] 30

Global activity
Activities hours
General comments about the planning: You can vary the calendar and the teaching period of each subject depending on the development and needs of the students and their transmedia projects. Continuously and proactively applies theory to practice.
10. Bibliography and Sources
Author(s) Title Book/Journal Citv Publishing house ISBN Year Description Link Catálogo biblioteca
Altozano, José El videojuego a través de David Cage 978-8494534966  
Bernardo, Nuno TRANSMEDIA 2.0: HOW TO CREATE AN ENTERTAINMENT BRAND USING A TRANSMEDIAL APPROACH TO STORYTELLING. BEACTIVE BOOKS 1909547018 2014  
Costera Meijer, Irene; Rogers, Richard; Westlund, Oscar; Witschge, Tamara / Díaz-Noci, Javier; Serrano-Telleria, Ana (eds.) RESEARCHING THE NEWS IN THE HYBRID MEDIA SYSTEM: AN EXPERT PANEL REPORT. DIGIDOC REPORTS PONR04/2021 2021 https://repositori.upf.edu/handle/10230/47055  
Dena, Christy Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments Ph.D Dissertation. University of Sydney. University of Sydney. 2009  
Evans, Elizabeth UNDERSTANDING ENGAGEMENT IN TRANSMEDIA CULTURE. ROUTLEDGE. 9781138632790 2020 https://www.routledge.com/Understanding-Engagement-in-Transmedia-Culture/Evans/p/book/9781138632790?gclid=EAIaIQobChMImPXEsufC8QIVCcPVCh33GgsPEAAYASAAEgJDJ_D_BwE  
Freeman, Matthew HISTORICISING TRANSMEDIA STORYTELLING. EARLY TWENTIETH-CENTURY TRANSMEDIA STORY WORLDS. ROUTLEDGE. 9780367884710 2017 https://www.routledge.com/Historicising-Transmedia-Storytelling-Early-Twentieth-Century-Transmedia/Freeman/p/book/9780367884710  
Freeman, Matthew; Proctor, William GLOBAL CONVERGENCE CULTURES. TRANSMEDIA EARTH. ROUTLEDGE. 9780367591007 2018 https://www.routledge.com/Global-Convergence-Cultures-Transmedia-Earth/Freeman-Proctor/p/book/9780367591007  
Freeman, Matthew; Rampazzo-Gambarato, Renira THE ROUTLEDGE COMPANION TO TRANSMEDIA STUDIES. ROUTLEDGE. 9780367580506 2019 https://www.routledge.com/The-Routledge-Companion-to-Transmedia-Studies/Freeman-Gambarato/p/book/9780367580506  
Gambarato, Renira y Alzamora, Geane C. (Eds.) EXPLORING TRANSMEDIA JOURNALISM IN THE DIGITAL AGE. IGI GLOBAL 9781522537816 2018 https://www.igi-global.com/book/exploring-transmedia-journalism-digital-age/181513  
Hayes, Gary P How to Write a Transmedia Production Bible. A Template for Multi-Platform Producers Screen Australia 2011  
Irigaray, Fernando y Renó, Denis (comps.) TRANSMEDIACIONES. CREATIVIDAD, INNOVACIÓN Y ESTRATEGIAS EN NUEVAS NARRATIVAS. LA CRUJÍA 978-897-601-247-8 2016 http://catedratransmedia.com.ar/2016/10/21/libro-transmediaciones-creatividad-innovacion-y-estrategias-en-nuevas-narrativas/  
McErlean, Kelly INTERACTIVE NARRATIVES AND TRANSMEDIA STORYTELLING. CREATING IMMERSIVE STORIES ACROSS NEW MEDIA PLATFORMS. ROUTLEDGE. 9781138638822 2018 https://www.routledge.com/Interactive-Narratives-and-Transmedia-Storytelling-Creating-Immersive-Stories/McErlean/p/book/9781138638822  
Murch, Walter EN EL MOMENTO DEL PARPADEO: UN PUNTO DE VISTA SOBRE EL MONTAJE CINEMATOGRÁFICO (FAHRENHEIT 451) OCHO Y MEDIO, LIBROS DE CINE 8495839482 2003  
Phillips, Andrea A CREATOR'S GUIDE TO TRANSMEDIA STORYTELLING: HOW TO CAPTIVATE AND ENGAGE AUDIENCES ACROSS MULTIPLE PLATFORMS. MCGRAW-HILL EDUCATION 0071791523 2012  
Pratten, Robert GETTING STARTED IN TRANSMEDIA STORYTELLING: A PRACTICAL GUIDE FOR BEGINNERS. CREATESPACE INDEPENDENT PUBLISHING PLATFORM. 1456564684 2011  
Renó, Denis; Campalans, Carolina; Ruiz, Sandra y Gosciola, Vicente (Eds.) PERIODISMO TRANSMEDIA: MIRADAS MÚLTIPLES. UOC Y UNIVERSIDAD DE ROSARIO 978-84-9064-237-5 2014  
Scolari, C., Bertetti, P., Freeman, M. TRANSMEDIA ARCHAEOLOGY. STORYTELLING IN THE BORDERLINES OF SCIENCE FICTION, COMICS AND PULP MAGAZINES. PALGRAVE MACMILLAN 978-1-137-43437-1 2014 https://www.palgrave.com/gp/book/9781137434364  
Scolari, Carlos Alberto NARRATIVAS TRANSMEDIA: CUANDO TODOS LOS MEDIOS CUENTAN. DEUSTO 978-84-234-1336-2 2012  
Serrano Tellería, Ana DISEÑO DE NODOS INICIALES EN CIBERMEDIOS: UN ESTUDIO COMPARATIVO. UNIVERSIDAD DEL PAÍS VASCO 978-84-9860-415-3 2010 http://hdl.handle.net/10810/12425  
Serrano Tellería, Ana TRANSMEDIA JOURNALISM WITHIN MOBILE DEVICES. CANAVILHÃS, J; RODRIGUES, C. JORNALISMO MÓVEL: LINGUAGEM, GÉNEROS E MODELOS DE NEGÓCIO LABCOM BOOKS 978-989-654-369-3 2017 http://www.labcom-ifp.ubi.pt/livro/289  
Serrano Tellería, Ana FILOSOFÍA DEL PERIODISMO TRANSMEDIA: IDEALES, LÓGICA Y VALORES. IRIGARAY, F; GOSCIOLA, V; PIÑEIRO-OTERO, T. DIMENSOES TRANSMIDIA. RIA EDITORIAL 978-989-8971-15-9 2019 http://www.riaeditorial.com/index.php/dimensoes-transmidia/  
Serrano Tellería, Ana JOURNALISM, TRANSMEDIA AND DESIGN THINKING WITHIN MOBILE DEVICES. PEÑA, SIMÓN; MESO, KOLDO. ACTIVE AUDIENCES. EMPOWERING CITIZENS¿ DISCOURSE IN ONLINE MEDIA. MC GRAW HILL INTERAMERICANA S.L. 8448620038 2020 https://libros.cc/Active-Audiences.htm#sinopsis  
Serrano Tellería, Ana USERS MANAGEMENT OF MOBILE DEVICES AND PRIVACY. EPI, EL PROFESIONAL DE LA INFORMACIÓN. EPI, EL PROFESIONAL DE LA INFORMACIÓN. 1386-6710 2018 https://doi.org/10.3145/epi.2018.jul.11  
Serrano Tellería, Ana TRANSMEDIA JOURNALISM: EXPLORING GENRES AND INTERFACE DESIGN. TRIPODOS, 38. MONOGRAPH: INNOVATION IN VISUAL JOURNALISM: OPPORTUNITIES AND CHALLENGES FOR THE CONCEPTUALIZATION, PRACTICE AND CONSUMPTION OF JOURNALISM. UNIVERSIDAD RAMON LLULL, FACULTAD CIENCIES DE LA COMUNICACIO BLANQUERNA. 1138-3305 2016 http://www.tripodos.com/index.php/Facultat_Comunicacio_Blanquerna/article/view/326  
Serrano Tellería, Ana JOURNALISM, TRANSMEDIA AND DESIGN THINKING WITHIN MOBILE DEVICES. ESTUDOS DE JORNALISMO. VOL 7. SOPCOM, PORTUGUESE SOCIETY OF COMMUNICATION STUDIES. 2182-7044. 2017 http://www.revistaej.sopcom.pt/edicao/139  
Serrano Tellería, Ana INNOVATIONS IN MOBILE INTERFACE DESIGN: AFFORDANCES AND RISKS. EPI, EL PROFESIONAL DE LA INFORMACIÓN. V. 26, N. 2. EPI, EL PROFESIONAL DE LA INFORMACIÓN. 1386-6710 2017 http://www.elprofesionaldelainformacion.com/contenidos/2017/mar/19.html  
Serrano Tellería, Ana TRANSMEDIA PRODUCTION: KEY STEPS IN CREATING A STORYWORLD. DEUZE, M; PRENGER, M. MAKING MEDIA. PRODUCTION, PRACTICES AND PROFESSIONS AMSTERDAM UNIVERSITY PRESS ACADEMIC 9789462988118 2019 https://www.aup.nl/en/book/9789462988118/making-media  
Serrano Tellería, Ana BETWEEN THE PUBLIC AND PRIVATE IN MOBILE COMMUNICATION. ROUTLEDGE STUDIES IN NEW MEDIA AND CYBERCULTURE. ROUTLEDGE 978-1-138-22555-8 2017 https://www.taylorfrancis.com/books/e/9781315399294  
Serrano Tellería, Ana; Larrondo Ureta, Ainhara DISEÑO PERIODÍSTICO EN INTERNET. UNIVERSIDAD DEL PAÍS VASCO 978-84-8373-998-3 2007  
Vogler, Christopher EL VIAJE DEL ESCRITOR MA NON TROPPO 9788495601513 2012  



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