Class Techniques of Television Expression

The unit teaches audiovisual language as a form of writing: an expressive system with codes, grammar and history, capable of generating programmes, new genres and new narratives. Its field of action extends from the foundations - orality, writing and image, the visual codes inherited from painting and photography, the cinematic grammar of shot and editing - to the formats and genres of the digital age: serial narrative and streaming, advertising, music video, reality and talk shows, the news/telenovela pair, documentary and hybrid, immersive formats, with the impact of AI on audiovisual creation. It runs in two weekly sessions: one on programmatic content and one of complementary technical modules - camera, sound and editing - which support the five assessed audiovisual assignments. In the 2nd year of the Communication Sciences degree, the unit provides command of the language that underpins all later audiovisual production.

Not applicable

Part 1 - Foundations of Audiovisual Language. 1. Introduction: television's "thick pencil" - orality, writing and image; from analogue to digital. 2. The image and its codes: from cave paintings to digital; Greek visuality; Quattrocento perspective; from camera obscura to photography; photographic codes in cinema and television. 3. Cinema and the grammar of images: film narrative; continuity and raccord; frame, shot and editing (Deleuze); light, colour and composition; sound design; experimental language. 4. Oral language: from orality to the podcast. 5. Written language: script, screenplay and visual storytelling. Part 2 - Formats and Genres in the Digital Age. 6. Fictional, informative and hybrid genres; serial narrative and streaming. 7. Advertising: storytelling and algorithms. 8. The music video. 9. Reality and talk shows. 10. The news/telenovela pair: infotainment and journalistic storytelling. 11. Documentary, hybrid and immersive formats, and AI

The TET course combines several teaching methodologies. In the theoretical component, the classes have an expositive vocation, complemented with the analysis and visioning of reports, tv shows,newspapers' line-ups, scripts; as well as laboratorial work and simulation, in the construction of television tv shows, report scripts, report and anchor texts. In the practical components, the contents are combined with their practical application in laboratory and professional simulation, either in image processing (collection and editing), as in sound (collection and post-production). The evaluation is divided as follows: theoretical module (55%), technical modules (45%). The evaluation of the technical modules is divided into three areas: image gathering (15%), image editing (15%), sound (15%). The assessment of the technical modules focuses on the reportage assignment. The assessment of the theoretical module consists in two levels: continuous assessment and practical reporting work.

Deleuze, G. (2004). A Imagem-Movimento: Cinema 1. Assírio & Alvim. Ellis, J. (2000). Seeing Things: Television in the Age of Uncertainty. I.B. Tauris. Ellis, J. (2012). Documentary: Witness and Self-Revelation. Routledge. Godinho, J. (2011). As Origens da Reportagem: Televisão. Livros Horizonte. Jost, F. (1997). La promesse des genres. Réseaux, 81. Lotz, A. D. (2018). We Now Disrupt This Broadcast: How Cable Transformed Television and the Internet Revolutionized It All. MIT Press. Postman, N. (1985). Amusing Ourselves to Death. Methuen.