Audiovisual Culture I

Teaching staff

Ricardo Íscar

Ricardo Íscar

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Course: Third

Typology: Elective Audiovisual Design

Code subject: GDVA23

INTRODUCTION

  • Offer a view of the complexity of the emergence of technological devices for audiovisual recording and reproduction, alongside their subsequent uses.
  • Investigate the cultural processes that surround narrative construction in motion pictures.
  • Interactive technology and the needs arising from its various social uses.
  • Analysis of the time-image in cultural practices from the point of view of the producer.
  • Acknowledge the strategies for narrative construction when producing motion picture projects.
  • Construct a critical view of the different work strategies involved when developing audiovisual projects and their results.
  • Provide the students with a solid knowledge base so that they can apply good criteria (establishing benchmarks) when developing professional audiovisual projects in the future.

 

CONTENTS

1. Before film

  • The first fixed images.
  • Vision machines.
  • The origin of the cinematographer.
  • Critical theory of technology.
  • Building the observer. 1810-1840.

2. Narrative, Narratives

  • The ancestral need to narrate. Wu Ming.
  • Narration of the moving image.
  • Cinematographic genres.
  • The link between film and literature.
  • Relational value versus the autonomous value of the image. The Kuleshov effect
  • Sound.

3. The documentary versus cinema. Reality versus fiction

  • Gender documentary
  • Nanuk Eskimo.
  • Joaquim Jordà. Truth, reality and morality.
  • Werner Herzog. Neither documentary nor fiction.
  • ‘The Makhmalbaf family’. Film school.

4. Work processes for the moving image

  • Work structures and their impact on the final results.
  • Analysis of the work processes for the moving image.
  • Case study: Robert Bresson, Werner Herzog, Marc Recha, Wong Kar-wai.
  • Experimental video.

5. Image file. Found footage

  • Recycling in the visual field.
  • The Prelinger Archives.
  • Case study on appropriation.

6. Experimental narratives

  • The video in the network.
  • New forms of participation.
  • Case study: Jonas Mekas, John Smith, Keren Cytter, Young Chang Heavy Industries, David OReilly, Alex Reynolds, Leon Garcia Siminiani, David Bestué, El Conde de Torrefiel, Pierre Huyghe, Ryan Trecartin, Video-Essay.

 

LEARNING OUTCOMES

  • The student shows an advanced knowledge of motion picture history and the interaction between technological and social uses.
  • He/she is able to decode the production strategies connected to the different audiovisual genres.
  • He/she is able to establish relationships between key theoretical references and the analysis of audiovisual documents.
  • He/she offers well-founded criticism of a complex visual image.
  • Shows his/her abilities in the field of critical reflection regarding professional processes.
  • Applies his/her knowledge, understanding and problem-solving abilities in creative and innovative ways in the professional design environment.

 

SPECIFIC SKILLS

  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.

 

EVALUATION

  • Observation of participation
  • Monitoring of work
  • Performing works or projects