| Study programme competencies |
|
Code
|
Study programme competences
|
| A1 |
Comunicar mensaxes audiovisuais. |
| A4 |
Investigar e analizala comunicación audiovisual. |
| A5 |
Coñecelas teorías e a historia da comunicación audiovisual. |
| A6 |
Coñecelo sector audiovisual: a oferta e as audiencias. |
| A11 |
Coñecelas metodoloxías de investigación e análise. |
| A12 |
Coñecelos principais códigos da mensaxe audiovisual. |
| B9 |
Desenvolverse para o exercicio dunha cidadanía aberta, culta, crítica, comprometida e solidaria capaz de analizar a realidade, diagnosticar problemas, formular e imprantar solución baseadas no coñecemento e orientadas ao ben común |
| C1 |
Entender a importancia da cultura emprendedora e coñecer os medios ao alcance das persoas emprendedoras. |
| C2 |
Valorar criticamente o coñecemento, a tecnoloxía e a información dispoñible para resolver os problemas cos que deben enfrontarse. |
| C3 |
Asumir como profesional e cidadán a importancia da aprendizaxe ao longo da vida. |
| C4 |
Valorar a importancia que ten a investigación, innovación e o desenvolvemento tecnolóxico no avance socioeconómico e cultural da sociedade. |
| Learning aims |
| Learning outcomes |
Study programme competences |
|
A11
|
|
|
|
A1
A4
A5
A6
A12
|
B9
|
C1
C2
C3
C4
|
| Contents |
| Topic |
Sub-topic |
| 1. Methodologies of analysis of audiovisual messages |
Main theories of communication and information.
Perspectives from which the audiovisual analysis is carried out. |
| 2. Analysis of audiovisual information. |
Rhetorical, discursive, narrative and semiotic analysis of informative audiovisual products. |
| 3. Persuasive audiovisual product analysis |
Rhetorical, discursive, narrative and semiotic analysis of persuasive audiovisual products. |
| 4. Analysis of the audiovisual entertainment product. |
Rhetorical, discursive, narrative and semiotic analysis of audiovisual entertainment and fiction products. |
| 5. Critical analysis of manipulation and disinformation strategies |
The audiovisual message as a tool of power |
| 6. Ethical analysis of the audiovisual product |
Ethical responsibility of the creator of informative, persuasive and entertainment audiovisual products. |
| Planning |
| Methodologies / tests |
Competencies |
Ordinary class hours |
Student’s personal work hours |
Total hours |
| Introductory activities |
A1 A4 A5 A6 A11 A12 B9 C1 C2 C3 C4 |
5 |
0 |
5 |
| Directed discussion |
A1 A4 A5 A6 A11 A12 B9 C1 C2 C3 C4 |
25 |
30 |
55 |
| Supervised projects |
A1 A4 A5 A6 A11 A12 B9 C1 C2 C3 C4 |
0 |
72 |
72 |
| |
| Personalized attention |
|
18 |
0 |
18 |
| |
| (*)The information in the planning table is for guidance only and does not take into account the heterogeneity of the students. |
| Methodologies |
|
Methodologies |
Description |
| Introductory activities |
Cada sesión presencial contará con 20 minutos de introducción na que se plantearán as ferramentas
teóricas necesarias para realizar a análise audiovisual.
|
| Directed discussion |
Cada sesión constará de 100 minutos de discusión dirixida sobre o producto audiovisual que se analiza. |
| Supervised projects |
Cada participante poderá facer traballos tutelados de análise de productos audiovisuais que se estudiarán en clase e un traballo final obligatorio para superar a materia. |
| Personalized attention |
|
Methodologies
|
| Supervised projects |
|
|
| Assessment |
|
Methodologies
|
Competencies |
Description
|
Qualification
|
| Directed discussion |
A1 A4 A5 A6 A11 A12 B9 C1 C2 C3 C4 |
Avaliación continua en función da participación nos debates, a entrega voluntaria de traballos de análise para su estudio en clase e da resposta a preguntas concretas durante o análise. |
50 |
| Supervised projects |
A1 A4 A5 A6 A11 A12 B9 C1 C2 C3 C4 |
Entrega dun análise audiovisual final. |
50 |
| |
|
Assessment comments |
In case of not participating in the directed discussions, the subject will be evaluated 100% in a single delivery of an audiovisual analysis, which consists of the two official opportunities.
|
| Sources of information |
|
Basic
|
SÁNCHEZ NORIEGA, José Luis (1997). Crítica de la seducción mediática. Madrid: Tecnos
Bordwell, David (2002). El arte audiovisual: una introducción. Barcelona: Paidós Ibérica
JACQUARD, Roland, (1988). La Desinformación: una manipulación del poder|. Madrid Espasa Calpe
VILCHES, Lorenzo (1989). Manipulación de la información televisiva. Barcelona: Paidós
Herrero, Julio César (Ed.) (2009). Manual de Teoría de la Información y de la Comunicación. Madrid: Universitas
Igartua Perosanz, Juan José (2006). Métodos cuantitativos de investigación en comunicación. Bosch
KAPFERER, Jean-Noël (1989). Rumores. Plaza y Janés
Gutiérrez San Miguel, Begoña (2006). Teoría de la narración adiovisual. Madrid: Cátedra
WATZLAWICK, Paul (1994). ¿Es real la realidad?. Barcelona: Herder
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Complementary
|
(1999-2006). EL ALA OESTE DE LA CASA BLANCA.
Torres, Pep (2011). EL ARTE DEL RUIDO. BARCELONA: PLATAFORMA EDITORIAL
Reitman, Jason (2005). Gracias por fumar.
FERGUSON, CHARLES (2010). INSIDE JOB.
(1989-2011). LOS SIMPSON.
KAREL, WILLIAM (2002). OPERACIÓN LUNA.
WILDER, BILLY (1974). PRIMERA PLANA.
LASSETER, JOHN (1995). TOY STORY.
Docter, Peter (2009). UP.
JOSEPH, PETER (2007). ZEITGEIST, LA PELÍCULA.
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| Recommendations |
| Subjects that it is recommended to have taken before |
|
| Subjects that are recommended to be taken simultaneously |
| Cinematography Direction and Lighting/616G01022 | | Theory and Practice of Editing/616G01023 | | 3D Infography1/616G01024 | | Art Direction and Production Design/616G01025 |
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| Subjects that continue the syllabus |
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| Other comments |
|
It is advisable to have a sufficient level in the Spanish language to be able to participate in the debates |
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