Checking date: 07/05/2020

Versión en español

Course: 2019/2020

Mobile and Interactive Narratives
(17509)
Master in Documentary and Journalistic Transmedia Reportage (Plan: 321 - Estudio: 289)
EPH


Coordinating teacher: FERNANDEZ CASTRILLO, CAROLINA

Department assigned to the subject: Communication and Media Studies Department

Type: Compulsory
ECTS Credits: 3.0 ECTS

Course: 1º
Semester: 2º



Requirements (Subjects that are assumed to be known)
The subjects that are taught during the first semester of the master.
Objectives
The web offers countless opportunities for the production and distribution of content. Documentary reportage and found in it a suitable place for innovation in language as in production and distribution. It also offers the possibility that the author-writer of the report or the documentary itself becomes in turn producing the same. Thus, both a story and a documentary on the web becomes more relevant as it becomes a project to develop. This subject is attempting to give students the basic tools to know how to manage the project and develop reports and documentaries for the network. Thus the author of them learn to manage the production and the marketing of it. Students will learn to manage the necessary resources to develop a successful transmedia documentary or reportage. The student will learn to manage the "commercial" elements transmedia documentary reportage. Students will learn to make work and effort that is part of the team.
Description of contents: programme
UNIT I: Experimental storytelling a.- The new media challenge b.- Historical retrospective c.- Creativity and experimentation d.- Digital storyteling UNIT II: The cellular as generator of interactive experiences a.- Keys to the production of an interactive documentary script b.- Principles of editing on mobile devices c.- Mobile video and audio production tools d.- Reference apps UNIT III: Co-creation in mobile narratives a.- From the viewer to the user b.- The principle of intercreativity c.- User-generated content d.- Case studies UNIT IV: Experiential strategies a.- Experiential audiovisual culture b.- Expanded cinema c.- Immersive and 360 installations D.- VR and video games content UNIT V: Verification, production and distribution of content a.- What are open forts b.- Paradigms, agents, institutions and consequences of verification c.- Transmedia strategies for the distribution and promotion of the interactive documentary d.- Reference online platforms UNIT VI: Mobile narratives in the digital age a.- Origins and evolution b.- Mobile and immersive journalism c.- Live streaming apps and App Art d.- Case studies
Learning activities and methodology
Traditional classes. Case studies presented, project analysis and discussions. Team project development of an interactive audiovisual experimental production for mobile devices.
Assessment System
  • % end-of-term-examination 20
  • % of continuous assessment (assigments, laboratory, practicals...) 80

Basic Bibliography
  • Carrera, Pilar . Basado en hechos reales. Mitologías mediáticas e imaginario digital. Madrid: Cátedra. 2020
  • Carrera, Pilar y Talens, Jenaro . El relato documental. Madrid: Cátedra. 2018
  • Courchesne, Luc . The Construction of Experience: Turning Spectators into Visitors in Martin - Rieser and Andrea Zapp (ed.), New Screen Media. Cinema/Art/Narrative, pp. 256-267. London: The British Film Institute. 2002
  • Elwes, Catherine . Installation and the Moving Image. New York, London: Wallflower Press, Columbia University Press. 2015
  • Fernández Castrillo, Carolina . Narrativa Audiovisual. Madrid: Centro de Estudios Financieros. 2011
  • Fernández Castrillo, Carolina . ¿Prácticas transmedia en la era del prosumidor: Hacia una definición del contenido generado por el usuario (CGU)¿ . CIC Cuadernos de Información y Comunicación, Vol. 19, pp. 53-67. 2014
  • Himmelsbach, Sabine . The Interactive Potential of Distributed Networks. Immersion and Participation in Films and Computer Games in Films and Computer Games¿ en Jeffrey Shaw and Peter Weibel (ed.), Future Cinema. The Cinematic Imaginary after Film, pp. 530-541. Karlsruhe: ZKM; Cambridge and London: The MIT Press. 2003
  • Jenkins, Henry . Convergence culture. La cultura de la convergencia de los medios de comunicación. Barcelona: Paidós. 2006
  • Lancaster, Kurt . Video Journalism for the Web: A Practical Introduction to Documentary Storytelling. New York: Routledge. 2012
  • Meigh-Andrews, Chris . A History of Video Art. The Development of Form and Function. New York, Oxford: Oxford International Publishers. 2006
  • Redondo, Myriam . Verificación digital para periodistas. Manual contra bulos y desinformación internacional. Barcelona: Editorial UOC. 2018
  • Staschen, Björn, Vellinga, Wytse . Mobile Storytelling: A journalist´s guide to the smartphone galaxy. Staschen, Björn, Vellinga, Wytse . 2018
  • Weibel, Peter . Narrated Theory: Multiple Projection and Multiple Narration (Past and Future) in New Screen Media. Cinema/Art/Narrative, pp. 42-53. London: The British Film Institute. 2002
Recursos electrónicosElectronic Resources *
Additional Bibliography
  • Bogost, Ian, Ferrari, Simon, Schweizer, Bobby . Newsgames: Journalism at Play. Cambridge, London: MIT Press. . 2010
  • Burum, Ivo . MOJO: The Mobile Journalism Handbook: How to Make Broadcast Videos with an iPhone or iPad. London: Taylor & Francis.. 2015
  • García Santiago, Lola. Manual básico de literatura gris: el lado oscuro de la documentación. Gijón: Trea. 1999
  • Harrison Smith, Sarah . The Fact-checker Bible. New York: Anchor Books. 2004
  • Kovach, Bill y Rosenstiel, Tom . Los Elementos del Periodismo. Madrid: Penguin Random House Grupo Editorial España. 2012
  • Ritchin, Fred . Bending the Frame: Photojournalism, Documentary, and Citizenship. New York: Aperture. 2013
Recursos electrónicosElectronic Resources *
(*) Access to some electronic resources may be restricted to members of the university community and require validation through Campus Global. If you try to connect from outside of the University you will need to set up a VPN


The course syllabus may change due academic events or other reasons.