Estudia

• B2. Read, understand and comment on scientific texts
• B3. Communicate effectively orally, in writing and audiovisually
• 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
• E1. Learn the basic concepts of audiovisual and multimedia communication

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. Semester 1: 1. The Constitution of the Image 1.1. Visual Perception. Formative and Structural Process 1.2. Schools: Innate, Ecological, Empirical, and Cultural 1.3. Image and the Process of Signification 1.4. Concept of Representation 1.5. Semiotics and Structuralism: Saussure, Peirce, Eco 1.6. Glossary: Sign, Index, Icon, Symbol. 1.7. Image and Language. The Configuration of a Communicative Process 1.8. Forms and Structures: Signified and Signifier. Denotation and Connotation 2. Narrative and Theory of the Moving Image (Cinema) 2.1. Audiovisual Narrative. Theoretical Framework 2.2. Analysis of Narrative and Audiovisual Components 2.3. Film Analysis and Theory. Walter Benjamin 2.4. Ontology of the Image: André Bazin 2.5. Evolution of Audiovisual Languages: Aby Warburg, Giorgio Agamben, Georges Didi-Huberman Semester 2: 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.

Assessment activities:

The grading criteria are based on:

-The completion of six practical assignments developed throughout the course.
-Two exams conducted through written tests.
-Participation in classes and completion of informal exercises.

The final grade for the course is composed of two mid-term exams. These exams must have a median grade of 4 or higher in order to include the practical work.

Work submitted after the agreed-upon due date and time will be rejected. Papers not submitted will be graded as 0, as the final activity must be averaged with the remaining exercises.

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

The exam questions cover relevant and fundamental issues related to the subject matter. They are specific questions that require theoretical knowledge of the subject. The degree of precision and synthesis in the answers is valued.

Specific criteria for the "No show" grade:
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.

Single Assessment:
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.

Minimum requirements to pass:
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.

The study of the communicative dimensions of visual and audiovisual discourses and analysis of images as a vehicle of meaning.
Consequently, learning to read images contributes to giving life to the interpretation and vision of the cultural codes.

To facilitate the connection between theoretical content, supplementary reinforcing material 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 corresponding practical application.
The practical application of specific content will be reinforced through exercises or assignments proposed for each topic, which will be tackled individually or in groups.
Given the characteristics of the students, we consider it 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 will 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