The Degree in Audiovisual Communication at the UIC is designed to prepare professionals to master the audiovisual skills and abilities which are important in almost every aspect of modern life.
The global impact that new communication and information technologies have had on society has spiked the demand for experts capable of making the most of new platforms and creating new and innovative content. We find ourselves in a steadily progressing technological culture in which sound and image grow more relevant and useful every day, and we need new, creative minds that are ready, willing and able to fill new media with high-quality information, narratives and entertainment, and add new dimensions to them.
The education provided here at the UIC emphasises the flexibility and dynamics that help generate, manage, and produce audiovisual content of the highest quality, without losing sight of professional ethics and social responsibility.
The audiovisual industry is a global reality that requires international skills and knowledge. To help course participants meet this need, the UIC provides workshops led by professionals from various countries and backgrounds, as well as many courses taught in English.
The general objectives of the degree in Audiovisual Communication focus on two different aspects which are of equal importance: vocational training and personal development.
According to the White Paper written by the conferencia de Decanos de las Facultades de Ciencias de la Comunicación (Deans of Communication Science Faculties conference) in 2004, there are potentipoally four professional profiles which all degrees in Audiovisual Communication should include in their training plans to a certain extent:
The aforementioned profiles cover an extensive branch of professional pathways which demand both a high creative ability, and a technical mastery of this specialised medium. Throughout their degree studies in audiovisual communication students will be confronted with these four professional profiles.
The characteristic of spaciousness and flexibility in these profiles without a doubt creates an advantageous context for the future in terms of professionalism. On the one hand, the audiovisual communicator acquires a wide overview of the socio-merchandise environment in which they must perform their communicative skills, grasp the philosophy of the professional which reflects on the world and manifests their viewpoint through material involving expression through movement, and satisfying the basic human needs of the Information Society.
On the other hand, due to the generation of numerous professional branches, the student, during their time at university, acquires a crosscutting viewpoint which allows them to find out what their opportunities are. This specialisation can even occasionally be so specific, that in and of itself it can demand technical skills which generate new communicative strategies (in the digital environment, and new online media etc), in a business that feeds back and has a great capacity for renovation.
The curricular approach over the four years allows the course to be organised based on accumulative degree of difficulty and complexity. During the first half of the degree programme students will acquire the most generic knowledge and skills, which will provide them with the ideal basis to incorporate knowledge and competences which will prove useful to them in terms of their incorporation into the labour market, in which they will probably need to carry out functions which partially or fully coincide with the four professional profiles which were our inspiration while preparing this syllabus.
Also, due to the choice between the Television and Radio or the Cinema module, the student will acquire some final modulated knowledge and competences in accordance with these two large fields of the audiovisual industry.
Professional profiles 1 and 4 are closer to the branch of treatment, reflection and content analysis, the semantic development of projects and decision-making related to the creation of ideas and concepts. They constitute profiles which go more in-depth into the theoretical, intellectual and humanistic terrain.
For more systematic and practical students, profiles 2 and 3 are more suitable, since they are related to the technical and executive specificity of the medium, as well as stylistic and creative development. These specialities are more related to the technical domain, technological adaptations and practical professional applications, recommended for those student profiles which are skilled, attracted to the specific technique of the medium, and interested in practical execution. However, our policy when setting out the syllabus was to avoid students to be completely decanted off, especially not formally, in other words, in such a way that it leads to some type of official award once their degree studies are over, in relation to a professional profile while they are completing their studies.
Something like this would run the risk of being a premature decision and could also bring with it gaps in the students learning, which would avoid material and modules, knowledge and skills which in the end would not only be useful, but probably essential in a labour market which is so variable and flexible as today’s one is.
The new syllabus will be structured in order to ensure minimum professional training both technically and practically, independently of the type of professional specialisation which is longed by the student, which, in short, will end up coinciding partially or fully with the four professional profiles which wee used as our inspiration. The provision of an optional module (Television and Radio, or Cinema) on the one hand allow students to be guided towards one of the large fields within the industry, because the aforementioned four profiles exist in both of these, although with characteristics and tones which are slightly different.
Depending on the professional and human dimension which the Universitat Internacional de Catalunya aims to construct, one of the distinctive main objectives of the degree programme is related to the need to provide students with education which is completely personalised and adapted to their circumstances, desires and future prospectives. Personalising does not demand adapting the material in any case, or modifying or reducing the level of quality and professionalism in the required curriculum, because that action would be to the detriment of the philosophy of the UIC: demanding maximum quality from the student who comes in to study at this university, implement the said quality during their passage through the degree programme, and, after those four years have passed, achieve students who have a vocational responsibility, an ethical-professional mentality, as well as a viewpoint of constant personal improvement which they will exercise throughout the future career.
In contrast to this idea, this personalisation will be achieved through tools such as the assignation of a personal tutor who guides the student over the four years; a module design which demands many hours of individual and group work by the student and consequently their individual correction by the teachers; the creation of workshops and group dynamics in each academic year; continuous assessment; support and monitoring by specialists specific to each branch chosen, not only members of the university, but also external collaborators; compulsory contact with the labour market via professional practices and opportunities to choose them voluntarily from a wide range of companies which we have established agreements with.
Likewise, the constant overall changes which take place in the audiovisual sector, especially in the areas of cinematography and television (in their representational forms, consumer habits etc) mean that, in the area of vocational training, the Universitat Internacional de Catalunya takes on a clearly international position, with the aim of having a much richer and more complex perspective of the reality which surrounds us. English is, without a doubt, the common language in this interconnected world of world of global communication. To that effect not only a specific module in English has been created, but also material for all the different courses, as well as workshops taught only in that language by native language professionals. It is the case, for instance, that important producers and editors from the fields of cinema and television, such as the French cinematographer based in London Eric Trometer, or the journalist who is a member of the BBC, Catherine Adams, are in charge of carrying out theoretical-practical workshops.
On the other hand, the professional dimension of educating an audiovisual communicator demands, in a university such as the UIC, the application of all the human and technical resources which are necessary in order to generate the implementation of cutting edge technology, in a constant exploration of new digital audiovisual formats. From the first year of the degree course, the university promotes the technical learning of the most advanced mechanics and audiovisual digitilisation. However, the use of new technologies is set out as a means and not as an end in itself. The capacity for criticism and the incorporation of ethical-professional guidelines have an impact on the constructive function that every technological advance can provide in their working future.
Therefore, what characterises an authentic communication professional is not a highly developed self-referential technical ability, but rather instrumental, incorporated into a way of looking, thematising and transforming reality or part of it into a message. Faced with certain (false) illustrated or culturalist criticisms we either defend the idea that attraction to technique and image, and passion for communication, are not superficial elements, but a specific expression of a sensitivity and a characteristic type of rapprochement to the world must be encouraged, in order to promote a richness of perspectives and plurality in terms of social proposals.
The general perspectives exhibited here become concrete in a series of competences which the student will acquire during the degree programme in Audiovisual Communication.
First, Audiovisual Communication students will make use of new technologies as a material through which to express themselves. This not only involves developing technical mastery to carry out communication, but also exercising good use of the material with the aim of better describing the message which they want to transmit. To therefore make use of technology in an efficient and conceptual manner.
Second, a specialisation will be acquired with peripheral dominance. Specifically, students must be able to have knowledge of the audiovisual world at all stages of its productive cycle, and also know which area they will best be able to carry out their work in, while paying attention to their own aptitudes and skills.
Third, innovation in the field of genres will be pursued. Students must be aware of the evolution of the different cinematographic, radiophonic and televisional genres and their possibilities, limits and frontiers in the medium and long term, with the aim of generating hybrid products or new formulas for the market.
Fourth, independent learning will be encouraged. Students have to be aware of the importance of being informed on a daily basis and up to date in relation to the evolution of the audiovisual sector. They should not only develop their vocational sense, but also feed their motivation to construct an independent learning plan which is not to be abandoned during their professional future.
In relation to this last idea, teamwork skills will be developed. Students must experience the importance of teamwork in relation to the professional profiles which are being pursued. Therefore they must know what their best contribution to the group could be, respect work that is not theirs, know how to lead or delegate when the occasion arises, and have the professional skill of establishing interdepartmental links which are beneficial in terms of the positive and efficient execution of the project.
Finally, students will be required to have a vocational responsibility. The world of work in terms of Communication Sciences requires a vocational effort, in contrast to other types of jobs. Students must bear this in mind, and accept it as an ethical-professional responsibility, with the aim of progressing and establishing themselves successfully within the sector.
All candidates coming from suitable academic pathways who meet the general requisites for access to the degree programme can apply. However, the recommended profile is that of a person with previous studies in the area of human and social values, with a vocational attitude towards the world of communication among whom the following skills stand out:
All the competences to be acquired in the Audiovisual Communication degree are listed below in numerical order. When creating this list, the EU requirements from the Dublin Descriptors of the Joint Quality Initiative were particularly taken into account, according to Annex 1 of section 1393/2007 3.2 of the Royal Decree, in order to ensure the suitability and international consistency which was aimed for.
1. The ability to adapt to changing circumstances.
2. Capacity for understanding, acceptance of criticism and correction of errors.
3. The ability to administer and manage human and technical resources.
4. The ability to work as part of a team and autonomously.
5. The ability to organise time and space.
6. The ability to develop academic rigor, ethics and professionalism.
7. The ability to apply deontology and respect for the audiovisual community.
8. Critical analysis, synthesis, concreteness and abstraction.
9. The ability to objectify, quantify and interpret (data, statistics, empirical…).
10. The ability to meet challenges and solve problems.
11. The ability to generate discussion and reflection.
12. The ability to meet deadlines, be punctual and respect the human, technical and material.
13. The ability to create written and oral communication.
14. Knowledge and mastery of rhetoric and oratory to communicate one’s own ideas.
15. Knowledge and mastery of body language and voice-over technology.
16. The ability to manage, analyse and reflect on the material.
17. The ability to critically analyse the context and events of social reality, and to represent contemporary history.
18. Capacity and development of general knowledge and interest in social events.
19. The ability to create informative documentation.
20. Domain knowledge and media literature.
21. Knowledge and mastery of digital culture.
22. Knowledge and awareness of the distinction between opinion and information / colloquial and formal registers.
23. The ability to prioritise news events and compare information.
24. The ability to plan and organise in both the short and the long-term.
25. The ability to maximize creative development.
26. The ability to develop taste and perfection in the finish and the aesthetics of projects.
27. The ability to adapt to different audiences and audiovisual markets.
28. Knowledge and mastery of key economic concepts.
29. The ability to budget for projects of different magnitudes.
30. The ability to study the feasibility of an audiovisual product.
31. The ability to understand the financial systems of groups and media companies.
32. Coping with audiovisual and film projects at all stages (pre-production, filming, postproduction, distribution).
33. The ability to create and manage.
34. The ability to recognise and respect the different roles of the cast and crew.
35. The ability to contextualise and critically analyse audiovisual industry products.
36. The ability to create, direct and manage media companies.
37. The ability to contextualise and critically analyse the organisational structure of global communication.
38. The ability to understand and apply the structure of the audiovisual system.
39. The ability to understand and apply the legal dimension of an audiovisual product.
40. The ability to defend and respect ownership and intellectual property.
41. Knowledge of and abilities related to the functioning of the various elements which act as agents in the audiovisual sector.
42. The ability to distinguish, analyse and master the different television, film and radio genres and formats.
43. The ability to create screenplays for television and radio according to the genre.
44. The ability to adapt to new media formats.
45. The ability to learn and master the techniques of visual narrative.
46. The ability to dominate imaging resources (photography, lighting …) and sound.
47. The ability to learn and implement retouching, special effects and design tools as well as post-production graphics.
48. Knowledge and mastery of the techniques of manufacture and assembly.
49. The ability to write fluent texts, storylines and scripts.
50. The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes.
51. Knowledge and command of the operation of Corporate and Institutional Communications.
52. The ability to apply technical and audiovisual knowledge to any commercial form.
53. Language skills in Catalan, Spanish and English.
54. The ability to skillfully handle the literary, terminological and linguistic structures of the English specifically used within the field of communication.
Complete the online application for admission
Applicants without degrees or diplomas must take the UIC general entrance exam according to their background
To be admitted into a degree programme at the UIC, international students from non-Spanish speaking countries must demonstrate their Spanish language skills.
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The Universitat Internacional de Catalunya offers you a highly personalised university education with a strong vocational element. This high level of personalised treatment is achieved by ensuring that there is: no more than one group per course; a maximum of 80 students per lecture, and one university professor assigned to every eleven students.view website
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