Universitat Internacional de Catalunya

Information Theory

Information Theory
6
9583
1
First semester
OB
Main language of instruction: Spanish

Teaching staff


Dr. DE LA PRIDA CABALLERO, Ruben - rdelaprida@uic.es

Introduction

In this course, students will acquire introductory notions of theory, analysis, and research in audiovisual communication, which in future courses will see their application in the fields of advertising and public relations. The course, which is theoretical in nature, explores the semiotic foundations of audiovisual language and presents the main channels and methods of research and dissemination in the world of communication.

Pre-course requirements

No prior requirements are necessary.

Objectives

The course aims to provide a theoretical foundation in various language theories to introduce students to audiovisual analysis, a key element for communication in the fields of advertising and public relations. Students will learn how meaning-making processes are articulated in this language and become aware of the influence of cinematic style on all types of audiovisual projects.

Competences/Learning outcomes of the degree programme

  • 12 - The ability to produce spoken and written texts
  • 34 - The ability to objectify and quantify (facts, statistics, etc.).
  • 64 - Knowledge and mastery of bibliographic repertories
  • 69 - Knowledge and mastery of the different techniques used to contrast information
  • 72 - Knowledge and mastery of the principle techniques for scientific and journalistic investigation
  • 73 - Knowledge and mastery of techniques to analyze sources of information.

Syllabus

Part I: Introduction to Language Theory and Audiovisual Communication

Basics of Language Theory

  • Communication models of Bühler and Jakobson
  • Concept of sign. Approaches of Pierce and Saussure
  • Types of signs: Icons, indices, and symbols
  • The filmic text

Film and Audiovisual Theories

  • Film theories and their classification
  • Audiovisual theories focused on the sender: Author theory
  • Theories focused on the receiver: Bálazs and Sobchack
  • Theories based on the referent: Bazin and Kracauer
  • Theories based on meaning: Lacan, Mulvey, and Zizek
  • Theories focused on the signifier: Arnheim and Eisenstein
  • The relevance of the neoformalist approach by Thompson and Bordwell
  • The challenge of Gilles Deleuze
  • Theory of digital image

Part II: Analysis of Audiovisual Content

Basic Analysis Tools

  • Segmentation
  • Découpage or filmic protocol
  • Stratification
  • Recomposing
  • Qualitative methods for audiovisual analysis

Activity 1: Segmentation

Framing (I)

  • The fixed frame
  • Principles of visual composition
  • Format
  • Color
  • Graphic codes

Framing (II)

  • The moving frame
  • Real and apparent camera movements

Staging

  • Lighting
  • Sets and locations
  • Costumes and makeup
  • Acting

Sequencing

  • The power of editing
  • The relationship between successive shots
  • Types of transitions between shots
  • Continuity editing
  • Deliberate break in continuity editing

Soundtrack

  • Dialogue
  • Music
  • Sound effects
  • Sound design
  • Sound and off-screen sound

Activity 2: Analysis of a sequence/ad/commercial/short film

  • Point of view
  • Narrative voice and its tenses
  • Time
  • Thematic space
  • Ideological space
  • Narrative space
  • Types of transtextuality
  • Metatextuality
  • Hypertextuality
  • Intertextuality

Part III: Sources and Channels of Dissemination in Communication

Basics of Research and Dissemination in Communication

  • Publication in indexed journals
  • Channels for disseminating research in communication

Teaching and learning activities

In person



TRAINING ACTIVITY ECTS CREDITS
Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. 2,6
Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. 0,6
Seminar. This activity will consist of taking an in-depth look at specific up-to-date topics in a monographic manner-in some cases these topics will have been debated socially-, via active work in small groups. 1,0
Practical workshop. A highly practical working activity, where students can acquire skills that are practical or also theoretical (intellectual skills, logical skills, critical skills, intellectual learning skills, study skills, quoting skills, etc). 0,8
Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product. 1,0

Evaluation systems and criteria

In person



Ordinary Examination

  1. 10% of the grade is based on active participation in class. Attendance of at least 90% of the classes (i.e., all but one) is required to be evaluated in this part.
  2. 20% of the grade is based on the submission of two assignments (10% each). Submission of both assignments is necessary to be evaluated in this part.
  3. 70% of the grade is based on the grade of the final ordinary exam. A minimum score of five points out of ten is required to be evaluated in this part.

Extraordinary Examination

  1. Option A: If all components of the ordinary examination have been attended but some parts were failed, the weighting is 60% for the average grade of the ordinary exam and 40% for the extraordinary exam grade. A minimum score of 4 points out of 10 in the extraordinary exam is required to calculate the average. If this minimum score is not achieved, the grade from the ordinary examination is retained.
  2. Option B: If any part of the ordinary examination was not evaluated, the ordinary exam cannot be taken. The extraordinary exam accounts for 100% of the grade, and a score of 5 points out of 10 is required to pass the course.

Bibliography and resources

Bellantoni, P. (2005). If It’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling. Burlington, MA: Focal Press.
Bordwell, D. y Thompson, K. (2010). El arte cinematográfico. Una introducción. 4ª reimpresión. Barcelona: Paidós.
Carmona, R. (2016). Cómo se comenta un texto fílmico. 7ª ed. Madrid: Cátedra.
Casetti, F. y Di Chio, F. (1994). Cómo analizar un film. 1ª reimpresión. Barcelona: Paidós.
Dondis, D. A. (2017): La sintaxis de la imagen. Introducción al alfabeto visual. Barcelona: GG.
Fernández Díez, F. y Martínez Abadía, J. (2024): Manual básico de lenguaje y narrativa audiovisual. Barcelona: Paidós.
Genette, G. (1989). Figuras III. Barcelona: Lumen.
Hagener, M. y Elsaesser, T. (2009). Film Theory. An Introduction Through the Senses.  Abingdon: Routeldege.
Sánchez Noriega, J. L. (2018). Historia del Cine. Teorías, estéticas, géneros. 3a ed., revisada y ampliada. Madrid: Alianza Editorial.
— (2000). De la literatura al cine. Teoría y análisis de la adaptación. Barcelona: Paidós.
Stam, R., Burgoyne, R. and Flitterman-Lewis, S. (1999). Nuevos conceptos de la teoría del cine, Barcelona: Paidós.

Print version