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G3041123 - Escritura audiovisual (Procesos de ideación y narrativa audiovisual) - Curso 2010/2011

Información

  • Créditos ECTS
  • Créditos ECTS: 6.00
  • Total: 6.0
  • Horas ECTS
  • Clase Expositiva: 24.00
  • Clase Interactiva: 24.00
  • Horas de Tutorías: 3.00
  • Total: 51.0

Otros Datos

  • Tipo: Materia Ordinaria Grado RD 1393/2007
  • Departamentos: Ciencias de la Comunicación
  • Áreas: Comunicación Audiovisual y Publicidad
  • Centro: Facultad de Ciencias de la Comunicación
  • Convocatoria: 2º Semestre de Titulaciones de Grado/Máster
  • Docencia y Matrícula: null

Profesores

NombreCoordinador
Castello Mayo, Enrique.SI

Horarios

NombreTipo GrupoTipo DocenciaHorario ClaseHorario exámenes
Expositivo 1OrdinarioClase ExpositivaSISI
Interactivo 1OrdinarioClase InteractivaSINO
Interactivo 2OrdinarioClase InteractivaSINO
Titorizado 1AOrdinarioHoras de TutoríasSINO
Titorizado 1BOrdinarioHoras de TutoríasSINO
Titorizado 2AOrdinarioHoras de TutoríasSINO
Titorizado 2BOrdinarioHoras de TutoríasSINO

Programa

Existen programas da materia para los siguientes idiomas:

  • Castellano
  • Gallego
  • Inglés


  • Course objectives
    - Study and Analysis of the Writing Expression forms of the Audiovisual Means.
    Contents
    Theoretical Contents:

    Unit 1: Conceptual Approach of the Audiovisual Writing.
    1.1. The Concept of Audiovisual Writing: Antecedents and Definitions of Item.
    1.2. The Cultural Relevance of the Narrative: the History and the Myth.
    1.3. Disciplinary View around the Study of the Audiovisual Writing: the Morphology, the Analytics, the Taxonomy, the Poetics and the Pragmatics.

    Unit 2: The Informative, Persuasive and Fiction Audiovisual Writing.
    2.1. The Audiovisual Writing as History and as Discourse.
    2.2. The Audiovisual Writing of Historical, Informative and Fiction Character.
    2.3. Fictional Matrixes and Integral Elements of the History.

    Unit 3: The Creativity in the Audiovisual Writing.
    3.1. From the Poetics Norms and of its Transgression: The Deliberated Contravention of the Creative Norms, Freedom in the Design and the Audiovisual Construction.
    3.2. The Use of Rhetoric in the Elaboration and the Audiovisual Writing Analysis: Persuasive Function, artis Parts and Creative Use of the Rhetoric Forms.
    3.3. The Materialization of the Narrative Creativity: from the Idea to the Audiovisual Production through the Pre-discursive and Discursive Tools.

    Unit 4: The Strategy of the Audiovisual Writing: Enunciation and Interpretative Cooperation.
    4.1. The Cooperation and the Aberrant Decoding between the Terminals of the Audiovisual Writing.
    4.2. Narrative Strategies in the Conception of the Audiovisual Narration: Open and Close Structures and Levels of Competence of the Model Author and the Model Reader.
    4.3. The Contribution of the Model Reader to the Generation of the Audiovisual Narrative: the Operations of Selection, Inference and Coherence.

    Unit 5: The Conditioning imposed by the Different Media and Technologies in the Audiovisual Writing.
    5.1. The Conditioning of the Cinematographic Mean.
    5.2. The Conditioning of the Radio Mean.
    5.3. The Conditioning of the Television Mean.
    5.4. The Conditioning in the Hypermedia Environment.
    5.5. The Casuistic of the Narrative Transfer: The Adaptations between Literary, Theatre, Cinematographic, Television, Radio and Multimedia Narrative.

    Unit 6: The Materialization of the Audiovisual Writing: the Script.
    6.1. The Dramatic, Journalistic and Persuasive Units.
    6.2. Phases of the Audiovisual Script: Idea, theme, Motive, Thesis, Argument, Synopsis, Running order, Literary and Technical Script, Bible, Pilot Script, Report and Stage.
    6.3. Models of Cinematographic, Radio, Television and Multimedia Scripts.

    Unit 7: Audiovisual Writing of Serial Narrative.
    7.1. The Media Context of the Contemporary Audiovisual Narrative.
    7.2. The Atomization of the Television Narrative.
    7.3. The Gag and the Narrative Involution of the General Television Fiction.

    Unit 8: The Models of Audiovisual Writing Analysis.
    8.1. The Levels of Audiovisual Narrative Analysis: Creator, Discourses, Film Fan, Critic and Analytic.
    8.2. Methodology and Specific Instruments of the Narrative Analysis.
    8.3. Paradigms of Audiovisual Narrative Analysis: Structural, actant, Semi-logical, Phenomenological Pragmatic, Grammatical and of Contents Analysis.

    Unit 9: Socio-communicative Effects of Audiovisual Writing (I)
    9.1. Specific Studies on the Media Production.
    9.2. The Ecological Effects: The Situational Geography.
    9.3. The Cultivation Analysis: The Annenberg School.

    Unit 10: Socio-communicative Effects of Audiovisual Writing (II)
    10.1. Plug-in, Stay-Tune and Theories of the Visual Perception.
    10.2. The Confines of the Perception: Primary and Medial Reality.
    10.3. The Experience of the Time and of the Media Space.

    Practice Contents:

    Practice 1: Analysis of the Film Work “Tren de Sombras” of José Luis Guerin: localizing several predetermined items, with the purpose of detecting Informative, Historical and/or Fictional Strategies.

    Practice 2: Analysis of the “Ornatus” of the Audiovisual Poetics: Identification of Rhetoric Figures in the Narrative Construction of the Advertising Spot “1984”, directed by Ridley Scout for Chiat-Day.

    Practice 3: Elaboration of a Short Narrative, in the audiovisual mean that you want, following the Phases of Elaboration of the Discourse or Artis Parts.

    Practice 4: Analysis of a Close Narrative Strategy: Analysis of a Close Audiovisual Narrative, of Free theme, with Limited and Controlled Alternatives in each Disjunction of Probability.

    Practice 5: Design of an Open Narrative Strategy: Elaboration of an Open Narrative, Multimedia and of Free Theme that reflect Multiple Possible Alternatives in each Disjunction of Probability.


    Practice 6: Design and Application of a Analysis Card on 25 Historical Television Serials, gathering according the learnt Taxonomies and attaching a Short Synopsis.

    Practice 7: Design of a Radio or Television Narrative of Serial Structure, according the Rules of a Genre chosen freely and seeing the Advertising Insertions in the “points of turn”.

    Practice 8: Complete Analysis of a Film of Free Choice using Narrative Instruments of Analysis of Descriptive, Citation and Documentary Type predetermined by the Teacher.

    Basic and complementary bibliography
    Basic Bibliography:
    -Castelló, Enrique (2004): La producción mediática de la realidad, Madrid, Laberinto (Comunicación 11).
    -2004): “El relato publicitario en Televisión: análisis morfológico, taxonómico y pragmático”, en Eguizábal, Raúl: La comunicación publicitaria, Sevilla, Comunicación Social.
    -(2006): “La involución de la ficción televisiva generalista: de la atomización del relato al gag”, en Carcelén, Sonia (et. Alt.): Propuestas para una comunicación de Calidad, Madrid, Edipo, pp. 125-133.
    -(2006): “Perspectivas de aproximación al hecho narrativo audiovisual contemporáneo: los discursos creador, cinéfilo, crítico y analítico”, en López, Xosé (et. Alt.): Comunicación e Cultura en Galicia e Portugal, Santiago de Compostela, Consello da Cultura Galega.
    -(2008): “ A ficción audiovisual contemporánea: as accións nucleares e as catálisis no modelo narrativo lineal dominante”,en Anuario Internacional de Comunicaçao Lusófona 2007, Braga, Lusocom, pp. 269-277.
    -Díez Puertas, Emeterio (2003): Narrativa Audiovisual: la escritura radiofónica y televisiva, Madrid, Universidad Camilo José Cela.
    -Gaudreault, André; Jost, François (1995): El relato cinematográfico: cine y narratología, Barcelona, Paidós (e.o. 1990): Le récit cinématographique, París, éditions Nathan).

    Complementary Bibliography:
    -Aristóteles (1999): Retórica, Madrid, Gredos.
    -Castelló, Enrique (2001): “La passion del concursante según Gran Hermano: la pérdida de ciudadanía en televisión”, en el Anuario de Comunicación de Tempos, Revista Mensual de Información para o Debate, nº 55, diciembre, pp. 86-88.
    -(2002): “Operación Triunfo o la rentabilización publicitaria del suspense espectacular en televisión”, en Tempos, Revista Mensual de Información para o Debate, nº 57, febrero, pp. 76-79.
    -(2003): El Espectáculo de lo Real en el Texto Televisivo. La vida en directo o la decadencia de la narratividad en televisión, Madrid, Secretariado de Publicaciones del Ministerio de Educación Cultura y Deporte (Centro Nacional de Información y Comunicación Educativa).
    -2005): “Los relatos persuasivos destinados a los medios y soportes multimedia: de la retroalimentación a la interactividad”, en Salas Nestares, Isabel De; Fernández Souto, Ana Belén; Martínez Vallvey, Fernando (eds.): La Universidad en la Comunicación. La Comunicación en la Universidad, Madrid, Edipo, pp. 237-244.
    -Comparato, D. (1996): El guión. Arte y Técnica de escribir para cine y televisión. IORTV. Madrid.
    -Chatman, Seymour (1990): Historia y discurso: estructura narrativa en la novela y en el cine, Madrid, Taurus Ediciones (Humanidades, 303) (e.o. 1978): Story and Discourse. Narrative Structure in Fiction and Film, Ithaca-Londres, Cornell University press.
    -Feldman, Simon (2000): Guión argumental, guión documental, Barcelona, Gedisa (Multimedia Cine, 5) (e. o. 1990).
    -García Jiménez, Jesús (2003): Narrativa audiovisual, Madrid, Cátedra (e. o. 1993).
    -González Requena, J. (1992): El discurso televisivo. Espectáculo de la postmodernidad. Cátedra. Madrid.
    -Hilliard, R. L. (2001): Escribir para radio, televisión y nuevos medios. Internacional Thomson. México.
    -Imbert, Gérard (2008): El transformismo televisivo. Posttelevisión e imaginarios sociales, Madrid, Cátedra (Signo e Imagen).
    -Kelsey, G. (2003): Escribir para televisión. Paidós. Barcelona.
    -López Gómez, Antía M. (1998): La publicidad en televisión. Rasgos del Spot contempo.

    Competence
    -Study and Analysis of the Writing Modalities of Audiovisual Communication and Information.
    - Audiovisual Writing for News and for Fiction Programmes.
    -Specific Characteristics of the Audiovisual Writing.
    -he Conditioning imposed by the Different Means and Technologies.

    Teaching methodology
    1. Cognitive and Conceptual Part: serves for the Training of the Students in the Management of the Terminology of the Subject, to theoretical Level and recognizing to Pragmatic Level determined Notions in the Audiovisual Narrative Future.
    2. Analytic Part: serves for the Training of the Students in the Exploration, Dissection, Recognition and Taxonomy of the several Morphologies (Classic and Emergent) of the Audiovisual Narrative, to Iconic-Verbal Level, through the Contribution of Analysis Tools that ability the Students to assess with agility the Guidelines (Superficial and Deep) of the Audiovisual Narrative Texts, in Materialization of Communicative Strategy.
    3. Procedure or Practice Application Part: Consequence of the Previous, it is about to apply a Wide Casuistic Techniques and Canonical Narrative Expressive Resources as Fundament to power the Creativity of those Techniques and own Narrative Expressive Resources. This Third Part takes over of the Creative Field traversed by Strange Processes to the Artistic Creation, Financed, Synchronized and Optimized Production with Industrial Functionality, and However, intrinsic to the Audiovisual Production. Then, it consists of on promoting in the Professional Training a wider View that is able to transcend the Efficiency and Necessary Routine of the Audiovisual Narrative Production, what will benefit in the Professional Training Rigor.

    Assessment system
    The 50% of the Subject will value in a final Exam, that includes Theory and Texts Reading, and the other 50% is assessed with the Laboratory Practices.
    In all Case, it will be condition sine qua non so that the Previous Weighting is carried out that the Students pass both Parts (Theoretical and Practice) of the Subject.
    The Duration of the Practice Mark will be limited to the June and September Convocations of the Academic Year.

    Study time and individual work
    Presence Work of the Student (48 hours)
    -20 h. Expositive Classes. Presentation and Explanation of the Themes.
    -04 h. Works with Texts: Analysis, Synthesis and Discussion.
    -20 h. Practices.
    -1, 5 h. Tutorials of Course Work.
    -1, 5 h. Assessment Activities.
    -02 h. Final Exam.

    Personal Work of the Student (102 hours)
    -40 h. Individual or in Group Autonomous Study.
    -12 h. Recommended Readings.
    -50 h. Preparation of oral Presentations, Debates, etc. Search, Register and Preparation of Support Material (Texts, Images, Audio, etc). Planning and Execution of the practice.

    Recommendations for the study of the subject
    -The Subject approaches with Theoretical and Methodological Rigor the Audiovisual Phenomena that take part of our Daily Nature.
    -So, it recommends a Daily Study of the Subject Contents, to fix the Concepts and Process of Progressive Form, saving the point that in an unjustified Mode is established between the Theoretical Learning and the Media Practice.

    Comments
    For the own characteristics of the subject, part of his contents will be given in a virtual way.