Estudia

• B2. Read, understand and comment on scientific texts
• B3. Communicate effectively orally, in writing and audiovisually
• B4. Analyze complex situations and design strategies to solve them, both individually and as part of a team
• B8. Evaluate own activities and learnings, and develop strategies to improve them
• B10. Develop the capacity of analysis, synthesis and critical judgment, identifying and arguing the causes and context
• E4. To situate the contents of one's own field of knowledge in history and to analyze its evolution in relation to other cultural disciplines

1. PART I. MUSICAL AWARENESS. 1. FILM MUSIC. 1.1. Film music narratives. 1.2. Music and context. 1.3. Applied music. 2. DEFINITIONS AND MUSICAL TYPOLOGIES. 2.1. Diegetic music. 2.2. The appreciation of applied art. 3. CHARACTERISTICS AND CONCEPTS. 3.1. Music and the audiovisual field. 3.2. The musical silence. 4. TECHNIQUES. 4.1. Resources in the creation of film composition. 4.2. Intellectual and emotional information. 4.3. Musical images and sound images. 5. PERCEPTION AND ANALYSIS. 5.1. Basis of the valuation and the effectiveness of the filmic musical element. 5.2. Functionality and narrative. 5.3. Thematic ideas of music and sound effects. 6. HISTORY AND EVOLUTION. 6.1. Approach to the most important aspects of the history and evolution of film music. 7. AUTHORS. 7.1. Brief review of the most significant names in film music, classified according to evolution 7.2. Pioneers, classics, innovators, neoclassical and new generations. 8. TERMINOLOGY. 8.1. The specialized, usual and essential vocabulary in the field of film music composition and in the analytical parts. 8.2. Soundtrack, movie scoring, mickey mousing , block or cue, streamer, click track, score, spotting, temp track, overscore and underscore. 9. REFERENCE WORKS. 9.1. Films with significant musical compositions. 10. REFERENCE COMPOSERS. 10.1. Significant and important musicians in the evolution of film music composition

2. PART II. CULTURE AND CINEMA. 1. THE BIRTH OF A MASS MEDIA. 2. CINEMA AS AN ARTISTIC EXPRESSION. Between artistic creation and the cultural movement. Artists and cinema. Cinema as a work of art. 2.1. German Expressionism. 2.2. Italian Neorealism. 2.3. Surrealism. 3. THE SPECTACLE OF CINEMA: The birth of Hollywood. 3.1. The Star System. The Oscars. 3.2. Evolution and continuation: The Actor’s Studio, the decline of Hollywood, the appearance of TV. 3.3. The “witch-hunt”, and the Cold War (science fiction and politics) 3.4. The new Hollywood. 4. CINEMA AS A POLITICAL TRANSMITTER, A REFLECTION OF SOCIETY AND A CREATOR OF THE COLLECTIVE IMAGINARY. 4.1. War and propaganda cinema. 4.2. Soviet cinema. 4.3. Nazi cinema. 4.3. The American Depression and the Crack of 29. 4.4. Cinema in May ’68 (The Nouvelle Vague). 4.5. Cinema in recent years and film as a political denunciation. 5. WOMEN MAKE MOVIES

• Altman, R (2004). Silent Film Sound. Columbia University Press.
• Aumont, J., Bergala, A., Marie, M., and Vernet, M. (1992). Aesthetics of Film. Austin: University of Texas Press.
• Bazin, A. (2004). What is Cinema? Vol. I & II. Berkeley: University of California Press.
• Beck, J., & Grajeda, T. (2008). Lowering the Boom: Critical studies in film sound. University of Illinois Press.
• Bordwell, D., Staiger, J., & Thompson, K. (1988). The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge.
• Bridgett, R. (2010). From the shadows of film sound: cinematic production & creative process in video game audio: collected publications 2000-2010. R. Bridgett.
• Chion, M., & Gorbman, C. (2019). Audio-Vision: Sound on Screen. Columbia University Press.
• Deren, M. & McPherson, B. (2005). Essential Deren. New York: McPherson and Company.
• Eisenstein, S. M. (1957). The Film Sense. New York: Meridian Books.
• Gubern, R. (2014). Historia del cine. Barcelona: Anagrama.
• Karlin, F., & Raybury Wright (2004). On the track: a guide to contemporary film scoring. Routledge.
• Konigsberg, I. (1998). The Complete Film Dictionary. London: Penguin Books.
• Krakauer, S. (1950). Theory of Film. New York: Oxford University Press.
• Levitin, D.J. (2019). This is your brain on music: Understanding a human obsession.. Penguin Books.
• MacKenzie, S. (2014). Film Manifestos and Global Cinema Cultures: A Critical Anthology. Berkeley: University of California Press.
• Morin, E. (2005). The Cinema, or the Imaginary Man. Minneapolis: University of Minnesota Press.
• Neumeyer, D. (2014). The Oxford handbook of film music studies. Oxford University Press.
• Nichols, B. (1975). Movies and Methods: An Anthology. Berkeley: University of California Press.
• Petrolle, J., & Wexman, V. (2005). Women and Experimental Filmmaking. Illinois : Illinois University Press.
• Stam, R. (2017). Film Theory: An Introduction. Hoboken, New Jersey: Wiley-Blackwell.
• Sonnenschein, D. (2013). Sound Design: The expressive Power of Music, Voice, and sound effects in Cinema. Michael Wiese Productions.
• Tarkovski, A. (2008). Sculpting in Time. Austin: University of Texas Press.
• Wells, O. & Bogdanovich, P. (1998). This Is Orson Welles. Cambridge: Da Capo Press.
• Whittington, W. (2007). Sound Design & Science Fiction. University of Texas Press.
• YEWDALL, L. (2003). Practical Art of Motion Picture Sound / Buch.. Focal Press.

Assessment activities:

This subject will be treated in two independent units: Culture and Cinema and Musical Awareness. Each of them will be evaluated independently. The student must reach at least 4.0 in each part (Musical Awareness and Culture and Cinema) to average.
In order to evaluate the student it's mandatory to attend 70% of the classes

Specific criteria for the "No show" grade:
Absence from teaching sessions of more than 60% will be listed as Not Presented.

Single Assessment:
Due to the characteristics of this subject, the single assessment option is not considered. The learning strategies and competencies that this subject conveys imply a continuous work of maturation in which, progressively, the students obtain feedbacks of the diverse achievements thanks to the continuous evaluation. The various assessment tasks that are contemplated are designed from a progression in their complexity so that students consolidate and reinforce the learning and skills to be achieved.

In this subject no assignment reaches 40% of the final grade.

Minimum requirements to pass:
To be considered to have passed the subject, a minimum grade of 5.0 must be obtained.

In case of confinenment and not being able to attend classes in person due to coronavirus, please check the section called "Design modification" ("Modificació disseny")