ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 99 Hours of tutorials: 3 Expository Class: 24 Interactive Classroom: 24 Total: 150
Use languages Spanish, Galician
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: Communication Sciences
Areas: Audiovisual Communication and Advertising
Center Faculty of Communication Science
Call: First Semester
Teaching: Sin docencia (Extinguida)
Enrolment: No Matriculable | 1st year (Yes)
Fundamental objectives:
Audiovisual communication in the 20th century and into the 21st century. Historical background. Knowledge and understanding of the audiovisual communication in the overall framework of the history of communication. Special attention to the great moments of the history of the media, from a sociological and philosophical perspective, and also from the perspective of technological progress, as well as deep knowledge of the historical evolution of the media in Galicia.
Specific objectives:
Approach, in retrospective terms of the emergence of the still image and the moving image , in the historical context of the visual representations of the nineteenth and twentieth centuries.
Recognition of the start of original representation system , which has led to the intrinsic properties of the visual image.
Block 1. The emergence of the still image in the context of the visuals
1. The proliferation of optical devices playfulness within societies eighteenth and nineteenth in Western Europe.
2. The incorporation and expansion of a spectacular paradigm in the field of popular culture.
3. The deficit of the photographic image: exclusion of time.
Block 2. The emergence of the moving image in the itinerary started in photography
4. The permanence of the artifices of the still image: an inescapable heritage.
5. Characterization of the technical progress of film cameras.
6. Referential universe, punctum, the photographic radical, the trace of the real in the moving image: the specificity of the audiovisual fact.
Block 3. The invention of the Cinematograph Lumière
7. The beginning of film history with the invention of the cinematograph: the input image in modernity.
8. Aesthetic reasons: the deployment of an original visual representation system. Incorporating randomness to "tableaux vivant".
9. The audiovisual image and communication devices: a relationship of resistance.
10. Communicative paradigm vs. Aesthetic paradigm.
NOTE: The contents are identical in the two contemplated teaching modalities, face-to-face and virtual.
Basic bibliography
- Didi-Huberman, Georges (2012): Devant le temps: histoire de l'art et anachronisme des images, Paris, Ed. de Minuit.
- Gil, Fátima; Segado, Francisco (2011): Teoría e historia de la imagen, Madrid, Síntesis.
- Martín Arias, Luis (2009): En los orígenes del cine, Valladolid, Ediciones Castilla.
- Pérceval, José María (2015): "Historia mundial de la comunicación", Madrid, Cátedra.
- Zunzunegui, Santos (2007): “Arqueología de la imagen”, en Cahiers du cinéma: España, nº 7, december, p. 91.
Complementary bibliography
- Delavaud, Guilles (2010): "De la création à l'exposition: Les impermanences de l'oeuvre audiovisuelle", Archimages. http://www.inp.fr/var/ezdemo_site/storage/original/application/9831764b…
- Sala, Ramón (2007): Introducción a la historia de los medios: consideraciones teóricas básicas sobre la historia de los medios de comunicación de masas, Bellaterra, Universitat Autònoma de Barcelona.
- Suchensky, Richard I. (2016): Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film, Oxford University Press.
- Vitale, Christopher (2015): Networkologies. A Philosofy of Networks for a Hyperconnected Age, UK, Zero Books.
- Wolfson, Todd (2014): Digital Rebellion. The Birth of the Ciber Left, University of Illinois Press.
Basic and General:
CB2 - students know how to apply their knowledge to their work or vocation in a professional manner and possess skills that tend to be demonstrated through the elaboration and defence of arguments and solving problems within their field of study.
CB3 - that students have the ability to gather and interpret relevant data (typically within their field of study) for making judgements that include a reflection on issues of social, scientific or ethical nature.
CB4 - students can transmit information, ideas, problems and solutions to both specialized as non-specialist audiences.
CB5 - that students have developed those learning skills needed to undertake studies with a high degree of autonomy.
CG1 - basic contextual skills of order transdisciplinary.
CG2 - contextual skills to locate audiovisual communication in the information society.
CG3 - competence to practise professional ethics and civic engagement.
Transverse:
CT01 - capacity for organization and planning.
CT02 - information management capacity.
CT03 - teamwork.
CT04 - autonomous learning.
CT05 - creativity.
CT06 - initiative and entrepreneurial spirit.
Specific:
CE17 - Learn the techniques of analysis of television and film products.
CE18 - Train to the direction of audiovisual documentaries.
CE19 - Get to know the historical context in which the audiovisual media have been developed.
Particular:
1) Assumption of the intrinsic characteristics of the audiovisual image in its current stadium,
2) Incorporation of a scheduled procedure, ie , conceptual and analytical, " archaeological " , applied to the pre - film images,
3) Use of the defining elements and differences 3 paradigms applicable to the audiovisual image in its forms of interpellation to the public: communicative, spectacular and aesthetic.
NOTE: The skills to be achieved are the same in the two teaching modalities, face-to-face and virtual.
The different topics supported with images for analysis will be developed.
For each of the topics the students will perform the reading of some short texts of complementarity and the analysis of some work from areas covered by the retrospective made . We will have a weekly session for sharing the results of this individual exercise .
NOTE: Remote activities are planned through the Virtual Campus. In this case, teaching will be taught synchronously. To track them, a delivery schedule will be carried out.
The evaluation will be continuous training (30%) combined, in a complementary way, with a compulsory final test (70%), on both occasions.
If the face-to-face examination is not possible, it will be carried out remotely.
In case of exemption from class attendance, a personalized work plan will be established with the teacher of the subject.
7.1 . Classroom student work . Total hours : 48
7.2 . Personal work . Total hours : 99
- Individual self- study or in group : 69 hours
- Search , registration and preparation of support material ( images , audio, etc. ) : 15 hours
- Recommended Reading : 15 hours
Contingency plan
In view of the three scenarios that the USC contemplates due to the health context, the teaching methodology will be gradually adapted by combining face-to-face and virtual or only virtual didactic initiatives, through the virtual campus (in the third scenario it will be all virtual) .
Regarding the evaluation system, if the face-to-face exam is not possible, it will be done remotely. Furthermore, in addition, the evaluation will be continuous, through different tasks scheduled during the semester.
Antia Maria Lopez Gomez
Coordinador/a- Department
- Communication Sciences
- Area
- Audiovisual Communication and Advertising
- Phone
- 881816527
- antiamaria.lopez [at] usc.es
- Category
- Professor: University Lecturer
| Monday | |||
|---|---|---|---|
| 09:00-10:00 | Expositivo 1 | Galician | Classroom 1 |
| Tuesday | |||
| 09:00-10:00 | Expositivo 1 | Galician | Classroom 1 |
| Wednesday | |||
| 09:00-10:00 | Expositivo 1 | Galician | Classroom 1 |
| Thursday | |||
| 09:00-10:00 | Expositivo 1 | Galician | Classroom 1 |
| 01.22.2021 10:00-14:00 | Expositivo 1 | Classroom 5 |
| 01.22.2021 10:00-14:00 | Expositivo 1 | Classroom 6 |
| 06.21.2021 10:00-14:00 | Expositivo 1 | Classroom 5 |