| Competences |
| Type A | Code | Competences Specific |
| A1 | Conèixer l’estat del món i la seva evolució històrica recent; comprendre'n els paràmetres bàsics (juridicopolítics, sociològics, econòmics, culturals, estètics i comunicatius). | |
| Type B | Code | Competences Transversal |
| CT5 | Communicate information clearly and precisely to a variety of audiences. | |
| Type C | Code | Competences Nuclear |
| Learning outcomes |
| Type A | Code | Learning outcomes |
| A1 |
Coneix els corrents principals de la cultura visual del segle XX És capaç d’analitzar críticament, des del punt de vista de la història dels corrents estètics, qualsevol producte comunicatiu de masses | |
| Type B | Code | Learning outcomes |
| CT5 |
Produce quality texts that have no grammatical or spelling errors, are properly structured and make appropriate and consistent use of formal and bibliographic conventions. Draw up texts that are structured, clear, cohesive, rich and of the appropriate length. Draw up texts that are appropriate to the communicative situation, consistent and persuasive. Use the techniques of non-verbal communication and the expressive resources of the voice to make a good oral presentation. Construct a discourse that is structured, clear, cohesive, rich and of the appropriate length. Produce a discourse that is appropriate to the communicative situation, consistent and persuasive, and interact effectively with the audience. | |
| Type C | Code | Learning outcomes |
| Contents |
| Topic | Sub-topic |
| 0. INTRODUCTION |
0.1. Welcome and presentation of the course. 0.2. Introduction to the contents and methodology of the course. |
| I. THE AVANT-GARDE |
1.1. Contextualization. 1.2. General characteristics of avant-garde art. The main isms. 1.3. Avant-garde and cinema. 1.4. The legacy of the avant-garde in cinema and contemporary art. |
| II. CULTURE AND ART AFTER THE SECOND WORLD WAR | 2.1. Context and introduction to the second avant-garde. 2.2. The birth of youth. Youth culture. |
| III. THE RUPTURES OF THE SIXTIES | 3.1. Contextualization: the revolts of the 1960s. 3.2. Main expressions of the counterculture and the underground. 3.3. Pop Art: from modernity to post-modernity. 3.4. The Nouvelle Vague and the new cinemas. 3.5. Feminist demands of the 60s and 70s. |
| IV. THE POSTMODERNITY |
4.1. Introduction to postmodernity. 4.2. Postmodern aesthetics. 4.3. Cinema and postmodernity. 4.4. Neo-television: new television formats and viewer dynamics. 4.5. New trends in advertising: paths of hyperrealism and access to social networks. 4.6. Beyond journalistic reportage: other forms of documentary and non-fiction. |
| V. AUDIOVISUAL TODAY | 5.1. Audiovisual trends in the digital era. 5.2. Post-television: non-fiction formats in the age of platforms. 5.3. New television fiction: from The Sopranos to the new trends of Netflix series. |
| Planning |
| Methodologies :: Tests | ||||||||||
| Competences | (*) Class hours |
Hours outside the classroom |
(**) Total hours | |||||||
| Introductory activities |
|
2 | 0 | 2 | ||||||
| Assignments |
|
2 | 20 | 22 | ||||||
| Presentations / oral communications |
|
16 | 18 | 34 | ||||||
| Lecture |
|
33 | 23 | 56 | ||||||
| IT-based practicals |
|
2 | 11 | 13 | ||||||
| Personal attention |
|
1 | 0 | 1 | ||||||
| Mixed tests |
|
4 | 18 | 22 | ||||||
| (*) On e-learning, hours of virtual attendance of the teacher. (**) The information in the planning table is for guidance only and does not take into account the heterogeneity of the students. | ||||||||||
| Methodologies |
| Description | |
| Introductory activities | The course syllabus will be explained, as well as the evaluation system. Then, a brief review of the concepts and basic methodological tools that students will have to use during the course will be made. |
| Assignments | Throughout the course the students will have to elaborate in group a written work around a specific topic of the syllabus assigned by the professor. This monograph will be the basis for the presentation they will have to make before the rest of the students. |
| Presentations / oral communications | The students, organized in groups, will have to present orally a specific topic of the syllabus of which they will have previously done a written work. After the presentation, a debate will be held with the rest of the class. |
| Lecture | The contents of the course will be presented in master sessions illustrated with (audio)visual examples. |
| IT-based practicals | Each student will develop a set of posts related to the subject matter of the course through Instagram, using the resources and language of this social network. |
| Personal attention | Throughout the course will be offered, by appointment, individual and group tutorials to resolve doubts related to the agenda and the development of the subject. |
| Personalized attention |
| Description |
|
Tutorials are carried out for each of the group work. Personalized tutorials will be carried out at the student's request. |
| Assessment |
| Methodologies | Competences | Description | Weight | ||||
| Assignments |
|
Group elaboration of a written work on an aspect of the syllabus assigned by the professors. The work will be based on written and audiovisual documentation sources provided by the professors and complemented by the students. | 20% | ||||
| Presentations / oral communications |
|
Presentation in class of the group work done. The presentations of each group will have a duration of approximately 90 minutes and will be based on the written work delivered to the professor in advance. They will be accompanied by an audiovisual piece of their own production. | 15% | ||||
| IT-based practicals |
|
Students will have to participate in the Instagram of the subject elaborating a set of own posts that complement the theory elaborated in class and commenting, at least, two posts of the other classmates. | 15% | ||||
| Mixed tests |
|
Tests of knowledge of the contents taught in the theoretical classes and student expositions, reinforced with the compulsory readings. To be taken both during the course and at the end of the course. | 50% | ||||
| Others |
| Other comments and second exam session | |||
|
CONTINUOUS EVALUATION (1st call): - This is a face-to-face course. Part of the evaluation will be carried out in practices developed in the classroom. - Each of the parts will be approved, at least with a 5, separately (the work, the group exhibition, the practical test and the mixed tests). - In the case of failing any of the parts, this must be recovered in the second call, regardless of the grades of the other tests. The rest of the grades of the passed tests will be kept. - In case of plagiarism in any of the tests, the course is automatically failed, regardless of the results of the other tests. ALL will have to be recovered in the second call. SECOND CALL - Any test in second call must be passed with at least a 5 to be averaged with the rest of the grades. The professors reserve the right to set a maximum grade for the work handed in during the second round. - In case of failing at least one of the pending tests in the second call, the course will be failed. - In case of plagiarism, the course will be failed. NON CONTINUOUS EVALUATION (2nd call): In case the student cannot follow the continuous evaluation, he/she must contact the professors of the subject before the date that appears in the Virtual Campus to confirm that he/she is presenting only in the second call. You must pass the same type of tests as in the continuous assessment, adapted in the format indicated. The professors reserve the option to set a maximum grade, below 10, in the non-continuous evaluation. |
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| Sources of information |
| Basic |
JAMESON, Fredric, El postmodernismo y lo visual, Episteme, 1997
CATALÀ, Josep Maria, Forma del real. Introducció als estudis visuals, Universitat Oberta de Catalunya, 2008
HUYSSEN, Andreas, Después de la gran división. Modernismo, cultura de masas, posmodernismo, Adriana Hidalgo, 2002
CABOT, Mateu (et. al.), Más que palabras: Estética en tiempos de la cultura audiovisual, Cendeac, 2007
DOMÍNGUEZ, Vicente (Ed.), Pantallas depredadoras. El cine ante la cultura visual digital, Festival Internacional de Cine de Gijón, 2007
QUÍLEZ ESTEVE, Laia , «Cuando el documentalista se ríe de sí mismo. La estética del fracaso y el documental performativo en Avi Mograbi, Ross McElwee y Alan Berliner», en OROZ, Elena; DE PEDRO AMATRIA, Gonzalo (eds.) , Madrid: Ocho y medio, 2009
SÁNCHEZ-BIOSCA, Vicente, Una cultura de la fragmentación. Pastiche, relato y cuerpo en el cine y la televisión. , Filmoteca, 1995
QUÍLEZ ESTEVE, Laia, «Sutiles pretéritos. (Post)memoria y (auto)biografía(s) en el cine documental contemporáneo», en MARTÍN GUTIÉRREZ, Gregorio (ed.).Cineastas frente al espejo. , Las Palmas de Gran Canaria: Festival Internacional de Cine de Las Palmas; Madrid: T&B Editor, 2008
IGLESIAS, Eulàlia, "Positioning Documentaries at the Cannes International Film Festival: Fahrenheit 9/11 and Beyond", a Vallejo A., Winton E. (eds). Documentary Film Festivals (eBook), vol. 2., Cham: Palgrave MacMillan., 2020
ARAÜNA, Núria, "El poder de los débiles: el cine de Rosa Vergés" a ZURIÁN, Fran (coord). Construyendo una mirada propia: mujeres directoras en el cine español: de los orígenes al año 2000., Madrid: Síntesis, 2015
ARAÜNA, Núria i QUÍLEZ, Laia, "Género y (pos) memorias en el cine documental sobre la Guerra Civil y el franquismo" a QUÍLEZ, Laia i RUEDA-LAFFOND, José Carlos (coords.). Posmemoria de la Guerra Civil y el franquismo. Na, Granada: Comares, 2017
IGLESIAS, Eulàlia, "Variaciones en torno a un cuerpo: identidad y ausencia en el cine de Isaki Lacuesta", a TERRITORIOS Y FRONTERASExperiencias Documentales Contemporánea, https://addi.ehu.es/bitstream/handle/10810/8313/Eulalia%20Iglesias.pdf?sequence=8, 2012
SABATÉ-BARRIERAS, Neus, De l’assemblea a la pantalla. Una aproximació al ‘Ciclo de Cine Dirigido por Mujeres’ del Festival de Sant Sebastià de 1978, En M. J. Vilalta (Ed.), Reptes de recerca en història de les dones (322-326). Edicions de la UdL., 2022
SABATÉ-BARRIERAS, Neus, “Un ghetto maravilloso”. Descubriendo el Ciclo de Cine Dirigido por Mujeres del Festival de San Sebastián (1978) a través de la prensa., https://artxiboa.sansebastianfestival.com/investigaciones/un-ghetto-maravilloso-descubriendo-el-cicl, 2022 |
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Consult in the Virtual Campus the bibliography for each topic of the work as well as the required and recommended readings for the exams. |
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| Recommendations |
| Subjects that continue the syllabus | |||
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| Subjects that are recommended to be taken simultaneously | ||
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| Subjects that it is recommended to have taken before | ||
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| Other comments | |
| (1). Students or groups of students who incur in any act of plagiarism in the elaboration of the works or who copy during the exams and tests that will be made throughout the course will be automatically suspended from the course, as indicated by the University's directive. (2). Serious spelling mistakes will be penalized, both in the practical exercises and in the papers, as well as in the tests and exams that will be carried out throughout the course. (3). For a good dynamic of the class, it is requested respect to the people who intervene in each moment, whether professors or students, as well as punctuality both at the beginning and at the end of the class. (4). It is not allowed to use mobile phones inside the classroom, except in practical exercises or evaluation exercises in which it is necessary to use them. (5). Attendance and participation in class may be taken into account for final grades. (6). A good reading level of English is required (there are compulsory readings in English). |
(*)The teaching guide is the document in which the URV publishes the information about all its courses. It is a public document and cannot be modified. Only in exceptional cases can it be revised by the competent agent or duly revised so that it is in line with current legislation.