Estudia

• B2. Llegir, comprendre i comentar textos científics.
• B3. Comunicar-se de manera efectiva oralment, per escrit i audiovisualment.
• B8. Avaluar la pròpia activitat i el propi aprenentatge, i elaborar estratègies per millorar-los.
• B10. Desenvolupar la capacitat d'anàlisi, de síntesi i de judici crític, identificant i argumentant les causes i el context
• E1. Aprendre els conceptes bàsics de la comunicació audiovisual i multimèdia

1. The understanding of current images is preceded by their relationship with thinking and reading. Creating places to imagine is also the opportunity to find out what the image has meant in shaping our world. During the course we will approach the creation of meaning from a historical perspective to achieve the meaning that leads to the image as one of the axes of contemporary visual communication. 1. Introduction. Image and cave: representations 2. Questions of imagination and memory 3. Image and religious visions 4. Art as a space for new images 5. Image and painting 6. About photography 7. Cinema as a contemporary image 8. Image and terror 9. The society of the spectacle 10. The imagined future: algorithms and utopia

2. Bibliography: BELTING, Hans, Likeness and presence, [Imagen y culto, trad. Spanish] DEBORD, Guy, The society of the spectacle DIDI-HUBERMAN, Images malgré tout [Imágenes pese a todo, trad. Spanish] FREEDBERG, David, The power of images GUBERN, Román, Del bisonte a la realidad virtual, Patologías de la imaginación MORALEJO, Serafín, Reflexiones sobre la teoría de la representación PARDO, Carmen, En el silencio de la cultura PATIÑO, Antón, ¿De dónde vienen las imágenes? SONTAG, Susan, On Photography

• JORDI BALLÓ (2000). Imágenes del silencio. Los motivos visuales en el cine. . Editorial anagrama. Colección Argumentos. .
• WALTER BENJAMIN (2008). The work of art in the age of mechanical reproduction.. United Kingdom: Ed Penguin.
• GIORGIO AGAMBEN (1999). Potentialities: Collected Essays in Philosophy. Daniel Heller-Roazen.
• GIORGIO AGAMBEN (2011). Nymphs in Releasing the Image: From Literature to New Media. Jacques Khalip and Robert Mitchell.
• SANTOS ZUNZUNEGUI (1995). Pensar la imagen. Cátedra. Universidad del País Vasco. .
• ROMAN GUBERN (2005). Del bisonte a la realidad virtual: la escena y el laberinto. Anagrama. .
• ANDRÉ BAZIN (2017). What is cinema? (2nd edition). University of california press..
• GEORGES DIDI-HUBERMAN (2016). The Surviving Image: Phantoms of Time and Time of Phantoms. Penn State Univ. Press.
• GEORGES DIDI-HUBERMAN (2018). The Eye of History: When Images Take Positions. MIT Press.
• GEORGES DIDI-HUBERMAN (2018). Survival of the Fireflies. Univ. of Minnesota Press.
• ANDRÉ BRESSON (2016). Notes on the Cinematograph . New York Review Books Classics.
• INGRID GUARDIOLA (2018). L’ull i la navalla. Un assaig del món com a interfície. Ed Arcadia.
• JAIME ROSALES (2018). El lápiz y la cámara. . Madrid: La huerta grande. .
• FISHER, MARK (2009). Capitalist Realism: Is there no alternative?. Zero Books.

Activitats d'avaluació:

The grading criteria is based on:

- the realization of 6 practical works developed throughout the course.
- two exams by means of written test.
- the participation in the classes and the realization of informal exercises.

The final grade of the course is formed by two mid-term exams, the exams will have to have a median grade higher or equal to 4 in order to include the practical work.

Work will be rejected after the agreed upon due date and time.
The papers not submitted will be graded 0, since the final activity has to be averaged with the remaining exercises.

The overall grade for the course is computed on a total grade of 10 points.
The informal exercises influence the evaluation of the attitudinal section. These exercises are related to the attitudes of attention and evolution of learning in the teaching sessions.

The exam questions refer to relevant and basic issues related to the learning of the subject. They are concrete questions, which require theoretical knowledge of the subject. The degree of precision and synthesis of the answer is valued.

Criteris específics de la nota «No Presentat»:
Students who do not have a grade for the presentation of the work will not be able to take the final exam and therefore will be graded as Not Presented.

The student will be considered as Not Present of the course if the sum of the total percentages of the tests or exams to which he/she has presented is less than 25%.

The absence to the teaching sessions of more than 60% will be recorded as a Not Presented.

Avaluació única:
Due to the complexity of the deliverables, the face-to-face activity is a requirement, which makes it counterproductive to contemplate the single evaluation option.
In the teaching activity, simulation practices are carried out in order to know the specific indicators for the development of the exercises.

Requisits mínims per aprovar:
A minimum grade of 5.0 is required to pass the course.

University tutoring refers to the process that occurs between a tutor professor and a student within the institutional framework. Its purpose is to establish a supportive relationship in which the tutor assists the student in designing the achievement of their academic, personal, and professional goals (Álvarez Pérez, 2002).

On their part, tutored students, through Itreram, can access their tutor's information and request to contact them according to their availability on the calendar.

Students who cannot achieve the minimum competency levels in the subject "theory and analysis of the image", who failed the learning results, will not be able to enroll in the subject "Multimedia Script" of the third year.

Those students who have failed the course, and who have an academic record with a median grade of 7, will be able to take the "Multimedia Script" course upon request.

General Observations
The study of the communicative dimensions of visual and audiovisual discourses is being considered. The module emphasizes the application of studying and analyzing images as vehicles of meaning.

Consequently, learning to read images contributes to bringing interpretation and understanding to the cultural codes we acquire. To facilitate the connection between theoretical content, supplementary materials will be provided, including PDF articles, images, and video documents.

In the theoretical sessions of the course, lectures will be used to review the theoretical content and provide guidance on its importance and practical application. The practical application of specific content will be reinforced through exercises or assignments that will be assigned for each topic, either individually or in groups, as appropriate.

Given the characteristics of the students, it is important to involve them in the development of different communicative actions through public presentations. This will enrich the course's development, allow clarification or commentary on different aspects of the content, and also serve as an evaluation of the strategy being followed by the teaching staff.

• A-Cultura i pensament
• A-Estètica i teoria de l'art
• A-Fonaments del disseny gràfic
• A-Llenguatge cinematogràfic
• A-Llenguatges contemporanis
• A-Teoria i tècnica del muntatge