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Dades generals

Curs acadèmic:
Desenvolupar el marc conceptual i metodològic que permeti analitzar els processos de significació. Definir els elements didàctics i conceptuals que serveixin per a objectivar els problemes visuals que s'ha de plantejar l'artífex durant la lectura i confecció del missatge. Promoure una actitud reflexiva i crítica amb l'objectiu de generar processos de sensibilització visual. Reflexionar sobre la comunicació visual i estudiar la naturalesa icònica. 011. El 'llenguatge' de la imatge 012. Anàlisi de la imatge 013. Estudi de la composició en la imatge 014. Components audiovisuals
Crèdits ECTS:


Grup A

Jose Luis Corazon Ardura  / Maria Garcia Vera
Idioma de les classes:
Anglès (100%)


  • 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 constitution of the Image 1.1. Visual perception. Formative and structural process 1.2. Schools: Innatist, ecological, empirical and cultural. 1.3. Image and process of signification 1.4. Concept of Representation. 1.5. Semiotics and structuralism: Saussure, Peirce, Echo. 1.6. Glossary: sign, index, icon, symbol... 1.7. Image and language. The configuration of a communicative process. 1.8. Forms and Structures: meaning and significant. Denotation and connotation.

2. Narrative and Theory of the image in movement (Cinema) 2.1. Audiovisual narrative. Theoretical framework 2.2. Analysis of narrative and audiovisual components. 2.3. Ontology of the image: André Bazin. 2.4. Analysis and film theory. Walter Benjamin. 2.5. Evolution of Audiovisual languages: Aby Warburg, Giorgio Agamben, Georges Didi-Huberman.


Tipus d’activitat Hores amb professor Hores sense professor Hores virtuals amb professor Total
Altres 5,00 3,00 0 8,00
Anàlisi / estudi de casos 60,00 111,00 0 171,00
Elaboració individual de treballs 36,00 36,00 0 72,00
Total 101,00 150,00 0 251


  • DONDIS,D.A. (1995). La sintaxis de la imagen (Gustavo Gil ). Gustavo Gil .
  • HUMBERTO ECO (2005). La estructura ausente, introduccion a la semiotica . Editorial DEBOLSILLO Mexico. .
  • JUSTO VILLAFAÑE / NORBERTO MÍNGUEZ (2002). Principios de teoría general de la imagen. Ediciones Pirámide .
  • RUDOLF ARNHEIM (2004). Art and Visual Perception, Second Edition: A Psychology of the Creative Eye (2nd Editition). University of California Press.
  • DAVID BORDWELL / KRISTIN THOMPSON (2012). Film Art: An Introduction. . McGraw-Hill Education.
  • JORDI BALLÓ (2000). Imágenes del silencio. Los motivos visuales en el cine. . Editorial anagrama. Colección Argumentos. .
  • GÓMEZ TARIN (2000). Saber y mirar. Una propuesta de reformulación de los conceptos de focalización. Recuperat , a
  • 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. .

Avaluació i qualificació

Activitats d'avaluació:

Descripció de l'activitat Avaluació de l'activitat % Recuperable
1.Performs from a three-dimensional object a reflective intervention related to the iconic typologies. Creates the corresponding representations of the selected object through a gradual subtraction of its iconic referents to reach the maximum abstract representation of the same. Reflective intervention related to iconic typologies. 10 No
2. Textual or audiovisual analysis of a sequence or visual motif and reflection on the moving image. Correct writing, spelling and syntactic mistakes will be evaluated. Analytical and reflective capacity on the part of the student, achievement of concepts integrated in the analysis. Documentary resources: bibliographic, videographic... 10 No
3. To develop the analysis of an advertising image applying the corresponding formal and semantic study procedures. Apply a methodology of analysis and critical attitude. 10 No
6. Identify and differentiate the various fundamentals of composition by finding objects that characterize them. Identify and differentiate. 10 No
7. Perform a staging that carries meanings linked to emotions and/or personal feelings. Creative realization. - Creativity, writing and expression. 20 No
EXAM / Evaluation test 1, value 14 % Evaluation test 2, value 21 %. Verify "the capacity of assimilation" of the reflective, conceptual and critical thinking contents. 35 No
Attitude Attitude, personal initiative and reflective intervention 5 No


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.


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 proposed. The module proposes the application in the study and analysis of images as a vehicle of meaning.
Consequently, learning to read images contributes to give life to the interpretation and vision of the cultural codes that we acquire.

In order to favor the connection between the theoretical contents, complementary reinforcement material, articles in pdf, images and videographic documents will be provided.
In the theoretical sessions of the course, the expository lesson will be used to review the theoretical contents and to give indications about their importance and the corresponding practical application.
The practical application of certain contents will be reinforced by means of exercises or works that will be proposed for each subject and that will be approached individually or by group according to the case.
Given the characteristics of the students, we consider important to involve them in the development of different communicative actions through public presentations. This will enrich the development of the subject, will allow to clarify or comment on different aspects of the content and will also serve, for the teachers, as an evaluation of the strategy that is being followed.

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