Since 1982 dedicated to

exclusive
the Oppositions of
Teaching.

Body: Professors of Fine Arts and Design

Specialty: Audiovisual Media
1. The vision: the eye and the brain. Perception of space, color, and movement. The perception of
time. The perceptual consistencies.

2. Cognitive processes. Theories of perception and knowledge. The role of the spectator. The
visual cognition.

3. Semiotics of the image. Dimensions. The image as aesthetic text. Visual discourse. Rhetoric
of the media.

4. Theories and models of image analysis. Formal, psychological, and sociological analysis. Iconism
and its theories.

5. Communication and information. Theories and models of communication. Psychology of communication.

audiovisual: analysis of cognitive processes, reception, representation, memory, models,
schemas, concepts, and image.

6. Mass media: evolution, classification, and characteristics. Perspectives

sociological aspects of mass communication.

7. Audiovisual media: definition, classification, technical characteristics, expressive and of

audience, specific uses. Slideshow, cinema, video and television. Current situation.

8. New audiovisual technologies: their implementation in the processes of creation, production and
dissemination of audiovisual product. The generation of new media.

9. Origins of photography. Evolution during the 19th century. Trends throughout the 20th century until
our days. 10. Photography as an aesthetic experience. The photographic genres. Authors
representatives. Photojournalism.

11. The photographic language. Perspective. Movement. Narrativity. Aesthetics and expressive aspects. The
photographic code.

12. The camera. Elements, types, formats. Digital cameras.

13. Optics and objectives. Aberrations. Image quality. Optical filters. Characteristics, functions,
types, accessories.

14. Lighting. The lighting equipment: sources, supports, exposure meters, and thermocolorimeters. The
lighting in the different mediums: photography, cinema, television, and video. The operator or director of
photography: technical and artistic aspects.

15. Photometry and sensitometry.

16. Sensitive material in black and white and in color.

Santa Clotilde, 26 18003 GRANADA Telfs. 958 273115 and 655867064 www.auladidactica.com
 Since 1982 dedicated to
exclusive
to competitions of
Teaching.

17. Black and white laboratory processes. Special techniques.

18. Laboratory processes in color. Special techniques.

19. Analog image and digital image. Conversion devices.

20. Digital photography. Image processing. Storage.

21. Background of the cinematic image. Origins and evolution up to the incorporation of
sound.

22. The sound cinema. The color cinema. Evolution up to the present. The art and the industry of cinema.
film as spectacle.

23. Primitive, avant-garde, classic, modern, and postmodern cinemas.

24. The movie camera: basic principles, formats, elements, types, filters, accessories, supports.
Specific models of film cameras. New developments.

25. The movie. General characteristics. Types and formats. Edge numbers and Keycode.
Copied. Conservation and preservation of the cinematographic film.

26. Conservation and restoration of audiovisual material. Cinematographic restoration in the environment.
digital. Reconstruction of old movies.

27. The cinematographic projection. Elements and systems. Quality standards.

28. Film genres. Fiction and non-fiction. Main works and proposals from authors
highlights. Experimental cinema.

29. Film theories. Cinema as an aesthetic experience.

30. The script. Stages. The technical script. The storyboard. The animatic. The production script.

31. The audiovisual language. Space, time, and narration in different media
audiovisuals.

32. The cinematic space. Framing. Composition. Shots. Photography and lighting.
Positions, angles, and camera movements. Scenery. The scene and the exterior. The spectator in
the story.

33. Cinematic time. Editing and time. Laws of editing. Rhetoric of editing. Units
narratives. The continuous shot. The raccord. Types of raccord.

34. Evolution, theories, and resources of editing.

35. The film laboratory. Techniques and processes.

Santa Clotilde, 26 18003 GRANADA Telfs. 958 273115 and 655867064 www.auladidactica.com
 Since 1982 dedicated to
exclusive
the Oppositions of
Teaching.

36. Cinematic editing. Processes. Non-linear editing systems applied to cinematography.

Digital editing programs. Video editing, systems, and editing modes.
37. The cinematographic realization. Gestation, development, and formalization of film projects.
Organization of a film production. The producer, the director, the technical team and
artistic. Functions and responsibilities.

38. The special effects. Tricks and special effects in filming and in the lab. Digital techniques of
post-production.

39. Methodology for analyzing audiovisual discourse.

40. Origins and evolution of television. From the first mechanical systems to the revolution
numerical.

41. The analog television signal. Generation, transmission, and reception.

42. Digitization of the video signal. Compression, formats, sizes, resolution.

43. High-definition television and digital television. New forms of television.

44. The television and video camera. Optical and electronic systems. Elements, types. Handling and
operation. Accessories and supports. New developments.

45. Television receivers and monitors. Technological innovations.

46. Magnetoscopes. Analog and digital formats. Optical recording media.

47. Analog and digital editing systems. Linear and non-linear editing. Technologies and
settings.

48. The multimedia digital platform.

49. Multimedia production. Techniques and applications. Storage.

50. Graphic design in audiovisual productions. Typography in film and TV. Intros and
Presentations. Identity of TV channels. The generic.

51. Genres in video and television.

52. Production processes in television. Studios and outdoor locations.

53. The television discourse. Semiotical, sociological and psychoanalytical space. Scopic repertoires.

54. Video art. Genres and trends. Formal and conceptual experimentation with the image
electronics. Mestizajes.

55. Advertising: concept, evolution, characteristics. Visual advertising media. The spot.
advertising. Rhetoric and seduction. Analysis and sociology of consumption. Marketing.

Santa Clotilde, 26 18003 GRANADA Telfs. 958 273115 y 655867064 www.auladidactica.com

 Since 1982 dedicated to
exclusive
Oppositions of
Teaching.

56. The documentary. Script and production of documentaries. The transmission of information: problems
specific. Diagrams, graphs, process simulation. Pedagogical applications of the documentary and
audiovisual information.

57. Specific production processes in film and advertising video. Aesthetic trends.

58. The artistic direction in film and television. The staging. Different conceptions.
set design of the set.

59. The nature of light. Theory of color. Expressive, psychological and symbolic aspects. Principles
basics of lighting.

60. Lighting in cinema and television. Sources, types, and specific uses.

61. Sound and its fundamentals. Theory of sound. The space and the sound image.

62. The radio. Social and economic presence of the radio. The audience. Organization, broadcasting and
programming.

63. Digitization of the audio signal. Resolution, sampling, sizes, formats, applications.

64. Sound recording and reproduction systems. Analog and digital processes.

65. Relationships between the languages of cinema and comics. From graphic sequence to animated drawing.

66. Animation cinema. Origin and development. Basic principles, physical and aesthetic laws.
Timing and movement.

67. Traditional animation production systems. The cinematic trick. Bank of

animation. Elements.

68. Static photographic techniques for animating puppets, objects, models. Stop motion.
Creators and works.

69. Traditional animation 'assisted' by computer. Creators and works.

70. 2D animation with digital methods. Characteristics. Drawing, design, animation, and interactivity.
Most used hardware and software.

71. 3D animation with digital methods. Characteristics. Modeling, materials, textures,

lighting, movement, 'rendering'. Most used hardware and software.

72. Overview of animation in Spain and in the international market. Applications of animation.

73. Techniques and personalities of animation cinema. Main studios: USA, Japan, Europe.
74. Comparative analysis: cinema, video, television, computer media. Interactivity.

Santa Clotilde, 26 18003 GRANADA Telfs. 958 273115 y 655867064 www.auladidactica.com

 Since 1982 dedicated to
exclusive
the Oppositions of
Teaching.

75. Audiovisual media and education. The theory-practice relationship in media teaching.
audiovisual. Creation and organization of an audiovisual media workshop classroom and a video library.
Team, organization, maintenance. Conservation and storage of audiovisual material.
Sources, distributors, publications.

76. The audiovisual presentation space. Organization, design, and installations. The projection.
Environmental conditions. The acoustics.

77. Legislation on audiovisual media and visual communication. Relevant aspects of the
Spanish legal regulations. Legal regulation of advertising and the use of images.

Santa Clotilde, 26 18003 GRANADA Telfs. 958 273115 y 655867064 www.auladidactica.com