Baget i Herms, J. M.: The TV movie scene.Bou, Núria: The passage from classicism to modernity.
From both a creative and a structural point of view, there are substantial differences between the television film, better known as the TV Movie (TVM) on the European and US networks. although both models belong to the sphere of the telefilm, a macrogenre which basically includes the entire fictional output on TV.Brown, Les: American television and the digital dilemma.
From the reformulation of the role of the characters’ gaze in John Ford’s The Man Who Shot Liberty Valance (1962), we can observe a representation that follows the tracks of a language that has abandoned the virginity of classical images forever. At the same time, the voices of cinematic modernity and, more specifically, from an analysis of the first modern film, Roberto Rossellin’s Viaggio in Italia (1953) , the article traces the break between the way of narrating —and seeing— of classicism and that of the modern cinema.Farré, Jordi; Saperas, Enric; Navarro, Vicenç: Television news and gender.
A special lecture given at the Universitat Pompeu Fabra, Barcelona.Font, Domènec: The aesthetics of audiovisual stories.
The communications media have become a central institution in the present configuration of the social system, since they are the only mechanism which can mediate between the public who need to find out about the social environment and an increasingly complex reality. The television news programmes have become the most powerful agent in that process of representing social reality. We present the most important results of a research project on the presence of the male and female genders in the discourse of the peak time television news broadcasts: the evening news bulletins.Pérez, Xavier: King Kong: an example of cinematic self-advertising.
This text proposes a critical inspection of the audiovisual culture of the postmodern era, starting from the structural place occupied by the story in our secularised societies. It also raises a question about the role of aesthetics in the familiar festive fiction that surrounds us.Pericot i Canaleta, Jordi: Informative non-compliance and audiovisual communication.
The credit titles in the opening images of the film are usually crucial in preparing the expectations that the cinema audience have already preconceived through the advance publicity. With an analysis of the first minutes of a masterpiece of classicism such as King Kong, our intention was to give a detailed example of that possibility of self-advertising for the film.Ribas, J. Ignasi; Freixa, Pere; Julià, Daniel; Berenguer, Xavier; Parés, Roc: Several models of interactivity in the CD-ROM.
One of the paradoxes of the communicative process is that although it is based on application and respect for Grice’s maxim, its deliberate disobedience, far from enabling the credibility of the statement, leads to unexpressed meanings which are basic to any act of communication. This text analyses the implications of the violation of the maxims in an audiovisual statement, and the subsequent inferential process of exchanges and suppositions it arouses.Ruiz Collantes, Xavier: The meaning of the trademark.
A study of the CD-ROM Joan Miró, el color dels somnis, produced by the multimedia laboratory of the Institut Universitari de l’Audiovisual, Universitat Pompeu Fabra, the Fundació Joan Miró, Barcelona, and the European Union Media Programme.Serra, Xavier: Music education in the digital arts. A practical example.
The Nike form-trademark has become an important image in the mass consumption society of today. The form refers to a brand of sportswear and objects because it has a referential/denotative function, but it also has a predicative function, since it acts a vehicle for a universe of semantic values around the brand. A semiotic analysis of the Nike form reveals the values it conveys and how they are organised in a discourse with a narrative structure.Tomas i Puig, Carles: From hypertext to hypermedia. An overview of the development of open-ended works.
A look at the Master’s Degree programme at the Institut Universitari de l’Audiovisual, Universitat Pompeu Fabra, and the Fundació Phonos, presenting the latest innovations in digital resources in the field of visual and musical arts.
Interactive communication systems for networks based on hypermedia propose and enable a type of cultural product which is consumed in a non-linear way and organised in a structure oriented towards the interconnection and integration of knowledge and which is far removed from centralised authorship and management.