Film Narrative Reading Moving Image Fundamentals of Film and Television Direction I Fundamentals of Film and Television Direction II Film Production Digital Post-production

1. Knowledge and ability to identify and apply theories, resources and methods in the processes of elaboration and analysis of documentaries and reportages (CG3). 2. Ability to critically perceive the documentary and reportage, understood as products of the socio-political, economic and cultural conditions of a given historical period (CG4). 3. Ability to define and develop research topics or innovative personal creation that can contribute to the knowledge or development of documentary language or its interpretation (GC6). 4. Assimilation of the theoretical and practical foundations of the technologies, techniques, resources and procedures required for the creation and production of documentaries and reportages (CE1). 5. Analytical and critical capacity in relation to documentaries, through knowledge of theories, forms, processes and trends in media communication and audiovisual communication (CE2). 6. Acquisition of advanced knowledge and understanding of the theoretical and practical aspects and working methodology in the field of documentary and reportage (R1). 7. Ability to reflect, through the documentary and reportage form, on social, cultural, scientific or ethical issues (R2). 8. Ability to organize the process of self-learning with a high degree of autonomy in all types of contexts (R3) 9. Ability to prepare reports, analysis or research on general aspects of documentary or documentary productions and reportages, according to the canons of the disciplines of communication and considering the socio-political and cultural context of their production and circulation (R10).

TOPIC 1. DEFINITION Unit 1.1. Documentary and reportage conventions Unit 1.2. The modes of documentary and reportage I Unit 1.3. The modes of documentary and reportage II Unit 1.4. The modes of documentary and reportage III TOPIC 2. TECHNIQUES Unit 2.1. Sound recording and the interview Unit 2.2. Voice Unit 2.3. Archive Unit 2.4. Rethorical and stylistic devices TOPIC 3. REALITY WRITING 3.1. Political writing of reality 3.2. Writing the (in)visible 3.3. Writings of the self TEMA 4. INTERVENTIONS AND TRANSFORMATIONS Unidad 4.1. Archival fiction Unidad 4.2. Documentary as potential history Unidad 4.3. Kill the documentary. An evocation of Jill Godmilow

1. Lectures: reasoned and interactive presentation of the contents of the program with the support of computer and/or audiovisual media, in which the main concepts of the subject are developed and the materials and bibliography are provided to complement the student's learning (CG3, CG4, CG6, CE2, R1, R2). 2. Practical classes: seminars and tutored hands-on sessions. Resolution of practical cases, problems, etc. posed by the teacher individually or in groups (CG3, CG6, CE1, R2, R3, R10). -Developing documentary creativity (writing/researching, camera/sound, editing). -Elaboration of an audiovisual essay of between 5 and 8 minutes by students working individually or in pairs. 3. Experimental workshop (CE1, CE2, R2, R3). -Elaboration of a 3 to 5 minutes short documentary film based on a photograph by groups of 3 students. 4. Student's work (CG3, CG6, CE1, R1, R2, R3, R4). -Tutored study of theoretical-practical contents and teaching materials, and completing the audiovisual assignments. 5. Tutored sessions. Individualized assistance (individual tutored sessions) or group assistance (group tutored sessions) to students by the faculty.