Unit 1 audiovisual_language

COLEXIO “SAN JOSÉ DE LA GUÍA”
r/ Dr. Corbal, 25.- 36207 VIGO
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UNIT 1:
AUDIOVISUAL LANGUAGE.
TEACHER: Sara Estarque Moreno
SUBJECT: Educación Plástica e Visual
LEVEL: 3º ESO
email: csjoseguia@planalfa.es
www.sanjosedelaguia.com

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OBXECTIVOS DA UNIDADE
• Comprender e coñecer os principais aspectos da historia do cine dende os seus
antecedentes técnicos ata a súa aparición.
• Recoñecer e comprender os elementos básicos da linguaxe audiovisual: plano, ángulo,
secuencia, movementos de cámara e a súa capacidade expresiva.
• Recoñecer e distinguir as diferentes partes dunha película e identificar que transmite a
película e como o fai.
• Expresar emocións, sensacións e historias tendo en conta o plano o ángulo e o que
expresan.
COMPETENCIAS DA UNIDADE
• COMPETENCIA CULTURAL E ARTÍSTICA.
◦ Identificar e coñecer o emprego dos conceptos sobre a comunicación audiovisual en
curtas e películas, así como saber empregalos en producións propias.
◦ Comprender os valores estéticos das manifestacións artísticas doutras épocas.
• AUTONOMÍA E INCIATIVA PERSOAL.
◦ Tomar decisións de xeito autónomo e avaliar os resultados antes e despois da toma
de decisións tanto durante o proceso creativo tanto persoal en grupo.
◦ Establecer estratexias de planificación, previsión de recursos, de anticipación e de
avaliación do resultados
• COMPETENCIA SOCIAL E CIDADÁ.
◦ Traballar en equipo con actitudes de respecto, tolerancia e cooperación, valéndose
das habilidades sociais.
◦ Respectar as quendas de palabra, valorar a opinión do outro, escoitar activamente
aos compañeiros.
• COMPETENCIA DE APRENDER A APRENDER.
◦ Reflexionar sobre os propios procesos de creación.
• TRATAMENTO DA INFORMACIÓN E COMPETENCIA DIXITAL.
◦ Facer uso dos recursos tecnolóxicos para a procura de información sabendo
discriminar, organizar e sintetizar a información relevante.
◦ Empregar as tecnoloxías como medio de comunicación que facilite e proceso de
ensinanza-aprendizaxe.
• COMPETENCIA MATEMÁTICA.

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◦ Desenvolver o gusto pola certeza e a súa busca a través do razoamento mediante a
utilización de elementos e soportes matemáticos como os empregados na resolución
de problemas.
• COMPETENCIA DE COÑECEMENTO E INTERACCIÓN CO MEDIO FÍSICO.
◦ Observar, experimentar e descubrir o emprego dos conceptos relacionados coa
comunicación visual na arte e nas creacións propias.
◦ Facer un bo uso dos materiais de traballo, reciclando sempre que sexa posible e
mantendo o entorno limpo e ordenado.
• COMPETENCIA EN COMUNICACIÓN LINGÜÍSTICA.
◦ Expresarse correctamente incorporando o vocabulario específico sobre a
comunicación audiovisual, explicando as investigacións e traballos feitos aos
compañeiros.
◦ Comunicar sentimentos, ideas ou emocións empregando planos cinematográficos.
SECUENCIACIÓN DO TRABALLO NA UNIDADE
• Do 22 de setembro ao 2 de outubro: Conceptos sobre a linguaxe audiovisual.
• O 6 de outubro: exame.
• O 15 de outubro: recuperación se fose preciso.
• Do 9 de outubro ao 23 de outubro: proxecto en grupo cooperativo.
CRITERIOS DE AVALIACIÓN DA UNIDADE
• Comprender e coñecer os principais aspectos da historia do cine dende os seus
antecedentes técnicos ata a súa aparición.
• Recoñecer e comprender os elementos básicos da linguaxe audiovisual: plano, ángulo,
secuencia, movementos de cámara e a súa capacidade expresiva.
• Recoñecer e distinguir as diferentes partes dunha película e identificar que transmite a
película e como o fai.
• Expresar emocións, sensacións e historias tendo en conta o plano o ángulo e o que
expresan.

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AUDIOVISUAL LANGUAGE
Audiovisual Language.
The audiovisual language is a system of communication using visual and sound
elements. The meaning of every audiovisual production is the result of the interaction of the
two languages which, in combination, turn into a more powerful expression. We are going to
study audiovisual language through the study of the cinema. The contemporary definition of
cinema is the art of simulating experiences that communicate ideas, stories, perceptions,
feelings, beauty or atmosphere by the means of recorded or programmed moving images along
with other sensory stimulations.
Cinema antecedents.
The antecedents are the inventions that lead to the creation of the cinema camera,
they were the camera obscura, and with the pinhole camera, the magic lantern, the
incandescent light bulb (with the electricity of course) and the photograph camera.
Films, technic.
A film, also called a movie or motion picture, is a series of still images which, when
shown on a screen, creates the illusion of moving images due to the phi phenomenon. This
optical illusion causes the audience to perceive continuous motion between separate objects
viewed rapidly in succession. A film is created by photographing actual scenes with a motion
picture camera; by photographing drawings or miniature models using traditional animation
techniques; by means of CGI (computer-generated imagery) and computer animation; or by a
combination of some or all of these techniques and other visual efects.
To create the illusion of movement the frames or pictures projected in a the cinema
must moves in a rate of, at least, 24 frames per minute.
Early movies.
The Lumière brothers are credited as the first filmmakers in history. They patented the
cinematograph which, contrary to Edison's kinetoscope, allowed viewing by multiple parties at
once, like current cinema. Their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is
considered the first real motion picture in history. Before Lumière brothers created the
cinematograph in the mid-19th century. Inventions such as the phenakistoscope and zoetrope,

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or investigations such as the Muybridge's who worked about the motion of animals and people
with photographs, demonstrated that a carefully designed sequence of drawings, showing
phases of the changing appearance of objects in motion, would appear to show the objects
actually moving if they were displayed one afer the other at a suficiently rapid rate. These
devices relied on the phenomenon of persistence of vision to make the display appear
continuous even though the observer's view was actually blocked as each drawing rotated into
the location where its predecessor had just been glimpsed.
Even though the Lumière brothers were the inventors of the cinema as a device, the
inventor of the new industry was Georges Méliès, who was also famous for leading many
technical and narrative developments in the earliest days of cinema. Méliès, a prolific innovator
in the use of special efects, accidentally discovered the substitution stop trick in 1896 and, with
it, what we know now as stop motion animation. His films include A Trip to the Moon (1902)
and The Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the
style of Jules Verne, and considered among the most important early science fiction films,
though their approach is closer to fantasy.
Types of shots.
In film, a shot is the space captured by the lens of a camera from a certain position and
angle. Shots, angles and transitions are used to further express emotion, ideas and movement.
The field size shown in any shot afects to its narrative power. The four basic kinds of field sizes
are:
1. Wide Shot, typically shows the entire object or
human figure and is usually intended to place it in
some relation to its surroundings.
a) Extreme long shot, it normally shows an
exterior, e.g. the outside of a building, or a landscape, and is ofen used to show
scenes of thrilling action e.g. in a war film or
disaster movie. There will be very litle detail
visible in the shot, as it is meant to give a general
impression rather than specific information..
b) Very wide shot, the subject is visible (barely), but
the emphasis is still on placing him in his environment.

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2. Medium shot: is a camera angle shot from a medium distance. It could be framed as a
full-length view of a human subject, or framed
from the waist up. It is mainly used for a scene
when it is desirable to see the subjects' facial
expressions in the context of their body language.
a) American shot or ¾ shot, for the actors to
stand in an irregular line
from one side of the screen to the other, with the actors at the
end coming forward a litle and standing more in profile than
the others. The purpose of the composition is to allow
complex dialogue scenes to be played out without changes in
camera position.
b) Medium close-up, t h e
medium close-up is half
way between a mid shot and a close up. This shot
shows the face more clearly, without geting
uncomfortably close.
3. Close-up. is a type of shot, which tightly frames a person or an object. Close-ups
display the most detail, but they do not include the broader scene. They are ofen
employed as cutaways from a more distant shot to show detail, such as characters'
emotions, or some intricate activity with their hands. They are also
used for distinguishing main characters. Major characters are ofen
given a close-up when they are introduced as a way of indicating their
importance.
a) Medium close-up, half-way between a mid shot and a close-up.
Usually covers the subject's head and shoulders.
b) Extreme close-up, the shot is so tight that only a
detail of the subject, such as someone's eyes, can be
seen. You would normally need a specific reason to
get this close. It is too close to show general
reactions or emotion except in very dramatic

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scenes. A variation of this shot is the choker that is an extreme close-up that shows
the subject's face from just above the eyeborwns to just below the mouth.
4. Point-of-View shot, this shot shows a view from the subject's perspective. It is usually
edited in such a way that it is obvious whose point of view it is. One of the more famous
examples of the point-of-view shot is the use of that kind of shot in the film “Rear
Window”, (the hiperlink is from just one clip of the film that uses point-of-view shot)
from Alfred Hitchcock.
Camera movements and angles.
Camera movements are used to help viewers follow the story and accompany the
movements of the characters in a film. They implement and add excitement to shots, their best
use is when new information is revealed. With the camera movements, the meaning of every
scene can be enriched. The most known camera movements are:
1. Pan, during a pan, the camera is aimed sideways along a straight line. Panning is
commonly utilized to capture images of moving objects like cars speeding or people
walking; or to show sweeping vistas like an ocean or a clif.
2. Tilt, that refer to the up or down movement of the camera while the camera itself does
not move. Tilts are ofen employed to reveal vertical objects like a building or a person.
3. Dolly, when the entire camera moves forward or backward. Dollies are ofen used when
recording a subject that moves away or toward the camera, in which case the goal
would probably be keeping the subject at the same distance from the camera.
4. Zoom, the camera remains at a constant position, but the lens magnify or minimize the
size of the subject. The use of the zoom changes the sense of distance between the
subject and the surroundings. It's mostly used in combination with another camera
movements as the dolly, in this case known as dolly zoom, which is rare but used for
some directors to emphasis the expression,.
Camera angles depend on the point of view taken by the camera in a scene. Whereas
shot sizes direct who and what we see, camera angles afect how we perceive it. A strong
weapon in the cinematographer’s arsenal is the ability to position the camera in relation to the
subject or scenery.

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1. Eyelevel angle, is the one in which the camera is placed at the subject’s height, so if
the actor is looking at the lens, he wouldn’t have to look up or down. Eyelevel shots are
incredibly common because they are neutral.
2. Low angle, is captured from a camera placed below the actor’s eyes, looking up at
them. Low angles make characters look dominant, aggressive, or ominous.
3. High angle, In a high angle, the camera is above the subject, looking down. This
position makes characters look weak, submissive, or frightened. They are also good as
the Point-of-view shot of an adult looking at a child.
Narrative structure of a film.
Is generally described as the structural framework that underlies the order and
manner in which a narrative is presented to a reader, listener, or viewer:
1. Setup, is where all of the main characters and their basic situations are introduced, and
contains the primary level of characterization. A problem is also introduced, which is
what drives the story forward.
2. Conflict, is the bulk of the story, and begins when the inciting incident (or catalyst) sets
things into motion. This is the part of the story where the characters go through major
changes in their lives as a result of what is happening
3. Resolution, is when the problem in the story boils over, forcing the characters to
confront it, allowing all the elements of the story to come together and inevitably
leading to the ending.
Film analysis.
We are going to analysis some short movies trying to understand what lies under every
film, which is its main purpose or message and its main parts.
1. Title, year and director. Most of the times we won't have all the information, in our
case the title will be enough.
2. Setup. When you consider that the introductory part finishes.
3. Conflict. Which kind of troubles, conflicts or changes happen during that part.
4. Resolution. How the problem/conflict/change finds an end.

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5. Message. We have to take into account how the images are shown (shots, movements
and angles and which meaning they make more powerful)

Unit 1 audiovisual_language

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