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Audiovisual literacy

Scholar Year: 2020/2021 - 1S

Code: PA01    Acronym: LA
Scientific Fields: Áudio-Visuais e Produção dos Media
Section/Department: Arts

Courses

Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
TSPPA 23 5,0 52 135,0

Teaching weeks: 15

Head

TeacherResponsability
Pedro Miguel Rebelo FelícioHead

Weekly workload

Hours/week T TP P PL L TC E OT OT/PL TPL O S
Type of classes

Lectures

Type Teacher Classes Hours
Contact hours Totals 1 3,47
Carlos Barreto Xavier   1,13
Delfim Ramos   2,33

Teaching language

Portuguese

Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)

In order to an audiovisual literacy, audiovisual language should be addressed by its basic concept, visual and developed for the new own terminologies of audiovisual language literacy.
Thus, it is understood that should be addressed visual basic elements and forms of composition and visual organization, so that later, the concepts inherent in speeches and audiovisual genres are worked.
- Understand and identify the visual elements in fixed and moving images
- Understand and identify visual elements of composition
- Identify and analyze different genres and audiovisual discourse
- Understanding the specifics of expression and audiovisual communication in the light of different genres and speeches

Syllabus

Visual basic elements:
- The point, line, texture, the values (light), color and shape.
Elements of visual composition:
- Plan, movement, timing, balance, weight, stress.

Elements of visual language:
- Plan, scene, sequence
- Plan- scale, angles and points of view, movement
- Composition- balance, stress, weight.
- Rules and continuity
- Aesthetics and values

Gender and audiovisual speeches:
- Fictional, fun and real
- movie theater
- TV
- hybrid


Demonstration of the syllabus coherence with the UC intended learning outcomes

As Curricular Unit included in the plan of professional training studies in the area of audiovisual production, aims to contribute to the understanding of audiovisual products as critical elements in relation to involvement, encourage emerging visual aesthetic values and provide an understanding of some of the key issues to consider the production of audiovisual materials nature.
The contents are designed to acquire audiovisual literacy, with artistic and aesthetic concerns, which allow acquisition of skills in visual expression and communication.
The progression of the content approach allows students to understand the importance of the still image, audio and motion picture, to be able to design and build audio-visual products that not only clearly convey the desired values, but also denote the aesthetic concerns of an artistic product We thought with rigor and creativity.

Teaching methodologies

The sessions will focus on the discussion in plenary and / or small groups from the information provided directly by the teachers or with the use of different materials.
The process will include:
(A) Reading, discussion and analysis of texts;
(B) Reading, discussion and analysis of still images;
(C) Reading, discussion and audio analysis;
(D) Reading, discussion and image analysis in motion;
(E) Development of small audiovisual products in class;
(F) conduct an individual audiovisual product with defined criteria, accompanied by critical reflection;
(G) Presentation and discussion of the work;

Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes

The aim of this course is to develop skills using a strategy of blended learning, enabling a closer relationship between teacher and students through frequent and targeted discussions. At the same time, the methodology focuses on reading, construction and use of audiovisual products by the students, individually and in groups, as advocated by Joan Ferres, the concept of active teaching video and not merely transmissive.
The educational video, or in the narrower concept of video production defined by Joan Ferres and be treated in an educational context in these various areas, allows a transdisciplinary approach to the curriculum of the initial training of students in higher education. Thus, the strategy of video production, based on the realization of audiovisual products by the students, the approach enables not only the content of their particular sphere (audiovisual media) as well as content more specific or cross other areas of knowledge.

Assessment methodologies and evidences

Evaluation

The work at UC will be subject to:

I) Formative Evaluation

a). Participation in practical audio and moving image components.
b). Discussion of the proposed topics, in person and online.
c). Presentation and discussion of the final audiovisual product.
d). Initial video diagnostic presentation.
e). Presentation of final video-diagnosis.

II) Summative Evaluation

a). Test - 30%.
c). Audiovisual product - 20%.
e). Audiovisual experiences - 50%

Classification
The final evaluation of the uc will be posted on the website of ESE / IPS date as the school calendar, resulting from partial evaluations described above, assigned on a scale of 0 to 20.
The partial assessments are made by the teacher in Moodle own space.

Attendance system

It is expected that each student: (a) participate in the discussion of the issues involved, as well as in group work; (B) read, analyze and be prepared to discuss the texts / submitted supporting materials; (C) run scheduled jobs.
It is expected that students with the worker-student status or other special statutes that may not be present in the sessions planned deem knowledge of this status to teachers in the first fifteen days of classes.
Students with special status and can not regularly attend uc can be evaluated on an ongoing evaluation process, following negotiations with the teaching of uc. This negotiation can result in the definition of different elements and moments of assessment presented in this program.
Students with normal status who do not obtain benefits in the assessment or not attending uc will be assessed by examination (on all content presented in this program), to take place on a date set by the Director of ESE / IPS

Bibliography

Arnheim, Rudolph. 1957. A arte do cinema. Lisboa : Edições 70, 1957.
—. 1986. Arte e percepção visual. 3ª. São Paulo : Livraria Pioneira, 1986. Trad. de "Art and visual perception", Californi: The Regents of the University of California, 1974, 1ª ed. 1954..
Dondis, Donis. 2000. Sintaxe da linguagem visual. 3ª Edição. São Paulo : Martins Fontes, 2000.
Ferronha, António. 2001. linguagem Audiovisual: pedagogia com a imagem, pedagogia da imagem. Mafra : Eduforma, 2001.
Gardies, René. 2006. Compreender o cinema e as imagens. 1ª edição 2001. Lisboa : Texto&Grafia, 2006.
Gil, Isabel Capoela. 2011. Literacia visual. Estudos sobre a inquietude das imagens. Lisboa : Edições 70, 2011.
RABIGER, M. (2008) - Directing : film techniques and aesthetics. 4th ed Burlington, MA ; Oxford : Focal
SOUSA, R. (1992) – Ver e tornar visível: formulações básicas em cinema e vídeo. Lisboa: Universidade Aberta.
VIVEIROS, P. (2005) – A imagem do cinema: história, teoria e estética. (2ª ed.) Lisboa: Edições Universitárias Lusófonas

Observations

In case of no participation in the evaluation moments, the evaluation will be performed by examining at the date set by ESE/IPS (except students with special status).

The examination will last two hours and consists of:
Component 1 (40%) - written test on the contents covered in class and exposed in this program, with 1 hour.
Component 2 (60%) - presentation (20 minutes) and oral discussion (40 minutes) of audiovisual product on exam day. The product will be performed by the student in the ESE / IPS facilities by statement delivered by a teacher in earlier date to the examination. The product is performed in a period between 2 to 4 consecutive days, using equipment provided by the ESE / IPS.

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Página gerada em: 2024-03-28 às 12:01:06