Presentation
The Master’s Degree in Film and Screen Studies is an Official Master’s Degree whose main objective is research and reflection on contemporary audiovisual culture and the history and evolution of moving images.
Its field of action will be both cinema – in its most diverse meanings (fiction, documentary, experimental, auteur cinema, popular cinema…), from different perspectives (historical, aesthetic and industrial but also from the area of cultural studies, gender studies or reception studies) and taking into account the innovations in this field (virtual reality, augmented reality, 360 cinema, XR cinema, etc.) and the changing “multiscreen” universe in which contemporary society is immersed: television series, video games, interactive content or content created specifically for the Internet, expanded cinema, video art, etc. ) as well as the changing “multi-screen” universe in which contemporary society is immersed: television series, video games, interactive content or content created specifically for the Internet, expanded cinema, video art, etc.
Its transversal approach, its special emphasis on the intersection between audiovisual and cultural studies, is one of the main novelties it brings to the offer of training studies in Catalonia.
Objectives and Skills
The aim of the Official Master’s Degree in Film and Screen Studies is to provide a more specific and, at the same time, more transversal training to the numerous graduates in Film, Audiovisual Communication or similar degrees (from Fine Arts to Humanities) who wish to become researchers, teachers, critics of film and other audiovisual creation formats, as well as festival programmers or content generators for cultural and exhibition institutions.
- BASIC AND GENERAL SKILLS
- Ability to work autonomously, and to carry out a rigorous research project, using the appropriate methodology and sources.
- Ability to collaborate with others and to contribute to group work, inside and outside the classroom, in the field of film and visual cultures.
- Possess and understand knowledge that provides a basis or opportunity for originality in the development and/or application of ideas, often in a research context.
- Be able to communicate their conclusions and the knowledge and rationale behind them to specialist and non-specialist audiences in a clear and unambiguous way.
- Be proficient in oral and written English for use in essays, research papers and audio-visual pieces.
- Demonstrate creative skills in information management and project development.
- SPECIFIC SKILLS
- Ability to integrate new knowledge and skills based on creativity in the field of film and visual cultures.
- Elaborate and transmit one’s own discourse based on research on theoretical and audiovisual texts on a theme, author or trend.
- Develop specialised knowledge in the area of humanities and cultural studies for use in the analysis and interpretation of screen culture phenomena.
- Identify the basic parameters of iconographic and narrative analysis of audiovisual pieces in order to analyse, from a personal, critical and creative point of view, the discourse they generate.
- Have a specialised knowledge of the history and evolution of cinema and audiovisual media in order to contextualise the knowledge acquired in an appropriate manner.
- Design and execute projects according to the different languages of contemporary audiovisuals.
- CAREER OPPORTUNITIES
- The Master’s degree is oriented towards research in the fields of film and audiovisuals. Students can become researchers, teachers, critics of film and other formats of audiovisual creation, as well as festival programmers or content generators for cultural or exhibition institutions.
Target Audience
Graduates in Film, Audiovisual Communication, Humanities, Fine Arts, Design or similar, interested in researching and generating spaces for reflection and creation related to the various formats and products of the changing contemporary audiovisual universe: not only film, television and video games but also online content, transmedia fiction, video art or expanded cinema, among others.
Access, pre-registration and enrolment
General requirements
In accordance with the provisions of Article 16 of Royal Decree 1393/2007, of 29 October, in order to access official university master’s degrees, it is necessary to hold one of the following qualifications:
- Official Spanish university degree.
- A degree issued by a higher institution of the EHEA that entitles the holder, in the country of issue, to access official master’s degree courses.
- Degree from outside the EHEA. In this case, the degree must either be recognised as equivalent to an official Spanish university degree or the University of Barcelona must previously verify (without recognition) that these studies correspond to an education equivalent to Spanish university degrees and that they entitle the holder, in the country issuing the degree, to access official studies. Acceptance to an official master’s degree does not in any case imply recognition of the previous degree or recognition for purposes other than that of studying for a master’s degree.
Specific requirements
Degrees in Cinematography, Audiovisual Communication, Audiovisual Media, Fine Arts, History of Art and similar subjects. Please consult the possibility of validating credits.
Pre-registration
Pre-registration calendar for the 22-23 course:
First period: 2 May to 17 June 2022.
Resolution: 27 June 2022.
Second period: 4 July to 16 September 2022.
Resolution: 23 September 2022.
Documentation required for pre-registration:
- Pre-registration application form (downloadable document below)
- Copy of degree or equivalent. In case of admission, foreign degrees that require it must be translated and legalised through diplomatic channels (http://www.ub.edu/acad/noracad/documents/legalitzacio.htm).
- Academic CV
- Letter of presentation
- Proposal of the research or project you wish to develop as a TFM (Master’s Degree Final Project): the originality and soundness of the proposal will be especially valued, as well as the demonstration of the candidate’s research capacity and knowledge of academic methodology.
How to apply:
Candidates must fill in the pre-registration form provided by the admissions team. It is essential to include the documentation required for admission and to provide an email address and telephone number where they can be contacted.
Selection criteria
Academic CV 35%
Letter of presentation 25%.
Proposal of the research or project to be carried out as a TFM (Master’s Degree Final Project) 40%.
Resolution procedure
A selection board made up of the Master’s degree’s directors and teaching staff will assess each of the documents, reaching a final evaluation of each candidate that will determine their access to the Master’s degree. There is the possibility of a personal interview with each candidate before confirming their selection.
Planned enrolment
Enrolment calendar: 27 and 28 September 2022
Scholarships
You can consult the scholarships and grants for university master’s degree students, find out about the requirements, procedures and deadlines for applying for a scholarship or grant at the following link.
Scholarships and grants are available for all types of students at all stages of their university studies: for research, exchange programmes, summer courses, further studies or research abroad, work as a lecturer, work placements in other countries, and so on. All this information is available on the UB World grants portal.
Calendar and timetable
Class timetable
Monday to Friday, from 4 p.m. to 8.30 p.m.
First course
- First Semester:
Teaching: October 1, 2024 to January 31, 2025.
Evaluation: from February 1 to February 21, 2025.
- Second Semester:
Teaching: from February 24, 2025 to June 6, 2025.
Evaluation: from June 9 to July 2, 2025.
Re-evaluation: deadline for the publication of grades July 31, 2025.
Second course
First Semester: September 16, 2024 to December 20, 2024.
Second Semester: January 8, 2025 to April 4, 2025.
First Semester Grades: Deadline, January 27, 2025.
Re-evaluation: by May 26, 2025.
Second semester appraisals: Deadline, May 2, 2025.
Re-evaluation: by June 2, 2025.
Vacation and vacation calendar for the 24-25 academic year
Syllabus
Title of studies: Official Master’s Degree in Film and Screen Studies
Title on passing the Master’s Degree: University Master’s Degree in Film and Screen Studies from the University of Barcelona.
Minimum duration of studies and ECTS credits: Two academic years and 120 ECTS credits.
The Master’s Degree in Film and Screen Studies consists of 120 credits and takes place over two academic years. The compulsory subjects comprise 78 credits; the optional subjects, 24, and the Master’s Final Project, 18.
Teaching plans
First course
Introduction to the Film Studies I and II
Introduction to the Screen Culture I and II
Film and audiovisual research methodologies I and II
Second course
Cinema and photography. The photographic image in the digital age
Communication and cultural studies
Teaching Staff
Master’s Directors
- Maria Adell Carmona
- PhD in Film Theory, Analysis and Documentation from the Universitat Pompeu Fabra, with the thesis “Una estrella moderna: Jean Seberg, de Preminger a Garrel”. She teaches various subjects in Film History and History of Spanish Cinema at ESCAC and at the University of Barcelona. As a researcher, she has taken part in international conferences with presentations on female film stars of the Franco era, such as Sara Montiel and Marisol, and on contemporary Spanish actresses and filmmakers such as Bárbara Lennie and Mar Coll. She has contributed articles to books on the actresses of the New American Comedy, Adam Sandler and Rainer Werner Fassbinder, among others.
- Sergi Sánchez
- PhD in Film Theory from Pompeu Fabra University (2011). Co-director of the Department of Film Studies with María Adell at ESCAC, where he teaches Modern Cinema and Trends in Contemporary Cinema. Lecturer on the Bachelor’s Degree in Audiovisual Communication and the Master’s Degree in Contemporary Film and Audiovisual Studies at the UPF. Film critic for “Fotogramas” and “La Razón”. He has collaborated, among other publications, in “Avui”, “El Cultural de El Mundo”, “Caimán Cuadernos de Cine”, “Time Out Barcelona” and “El Periódico de Catalunya”, where he still works as a literary critic. He was screenwriter and coordinator of the programme “Días de cine” (TVE) and of several documentaries for Canal Plus, as well as Programming Director of the channel TCM (Turner Classic Movies). Author of “Hacia una imagen no-tiempo. Deleuze y el cine contemporáneo”, “David Lean. La geografía de la emoción”, “Akira Kurosawa. El ruido y la furia”, “Tom DiCillo. The Wizard of Oz”, “Michael Winterbottom. El orden del caos”, “Las variaciones Hartley”, “Las 100 películas clave de la ciencia-ficción”. He has collaborated in collective books, among others, on Australian fantastic cinema, musical cinema, Jacques Demy, Alain Resnais, Dario Argento, Rainer Werner Fassbinder, American independent cinema, Richard Brooks, Georges Franju and Nagisa Oshima, as well as co-editing, together with Pablo G. Polite, “El sonido de la velocidad” and co-writing, together with Jordi Costa, “Terry Gilliam. El soñador rebelde”.
Master’s teaching staff
- Enric Alberó
- A graduate in Audiovisual Communication from the Universitat de València, he took the Master’s Degree in Scriptwriting at the Universidad Internacional Menéndez Pelayo and was part of the first class of the Master’s Degree in Film Criticism at the Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid (ECAM) where he teaches. As a journalist, she has worked in local and regional media (Las Provincias or the radio programme ‘Pròxima parada’ on À Punt). He is currently a member of the editorial board of Caimán Cuadernos de Cine and writes about television fiction in El Cultural, through the blog ‘En plan serie’, as well as collaborating with other media including Cinemanía and Serielizados, a website specialising in television series. He is also the content manager of the Berlanga Film Museum, the virtual museum dedicated to the figure of the Valencian filmmaker Luis García Berlanga. He has also worked as programmer of the 9th edition of the IBAFF-Murcia International Film Festival and as assistant programmer of the 34th Mostra de València-Cinema del Mediterrani.
- Yago Alcover
- Graduate in Film and Audiovisual Media from ESCAC (2007), specialising in Documentary. He is a member of the pedagogy department and coordinator of the undergraduate studies at ESCAC. Master in Contemporary Film and Audiovisual Studies at UPF (2020), he is currently preparing his PhD in Communication at UPF in the project modality, with a research on the cooperative experimental film laboratories of the Xarxa Filmlabs and the validity of photochemical film practices in the digital era. Since 2019, he has been a member of the board of directors of the creative film collective Crater-Lab. He combines teaching with audiovisual production and music. He has contributed to the magazines Contrapicado, Mondo Sonoro and Rockdelux.
- Álex Arteaga
- Artistic researcher who integrates aesthetic and phenomenological practices for the investigation of environments, embodiment processes and aesthetic cognition. He studied music theory, piano, electronic music, composition and architecture in Barcelona and Berlin and completed a PhD in philosophy at the Humboldt University in Berlin. He has been visiting professor at different universities and teaching centres such as the University of the Arts Helsinki or the University of the Arts Berlin and has developed long-term research projects such as Architecture of Embodiment (www.architecture-embodiment.org) or Contingent Agencies (www.contingentagencies.net).
- Mario Barranco Navea
- Graduate in Social and Cultural Anthropology from the University of Seville and Master in Contemporary Film and Audiovisual Studies from Pompeu Fabra University. Currently, he enjoys a ministerial grant while he teaches at the UPF on gamification and new media, and at the same time he is finishing his doctoral thesis on experimental video games. He participates in several projects of the Ministry where he researches the ontological turn and speculative aesthetics (ETSICO group 2018-2021). He has contributed his texts to several anthologies, such as Los héroes están muertos. Heroism and villainy in the television of the new millennium (Dolmen, 2014) or M. Night Shyamalan. El cineasta de cristal (Almuzara, 2019). He has also coordinated and edited international academic journals on video games and cinema such as Lifeplay and Comparative Cinema.
- Andreu Belsunces
- Sociologist of design and technology. He researches the intersection between digital cultures, technopolitics, collaborative practices, epistemology and the semio-material agencies of fiction. He shares learning spaces at UOC, Escola Massana, Elisava and IED where he weaves relationships between media studies, critical thinking, social sciences, speculative theory and research in art and design. He is co-founder of Becoming, an experimental action-research studio on emerging scenarios. His work has been presented at MACBA, CCCB, The Influencers, Hangar, Sónar +D (Barcelona), Medialab Prado (Madrid), STRP (Eindhoven), The Wrong Biennale (International) and The New School (New York) among others.
- Jordi Costa
- Since 2019, head of the exhibitions department at the CCCB. Author of the books Mondo Bulldog (1999), Vida Mostrenca (2002), Todd Solondz: En los suburbios de la felicidad (2005) and Cómo acabar con la Contracultura (2018), among others. He has curated the exhibitions “Cultura Basura: una espeleología del gusto”, “J. G. Ballard. Autopsia del nuevo milenio” (both at the CCCB), “Ficciones en serie” and “Ficciones en serie. Segunda temporada” (SOS 4.8) and “Plagiarismo” (La Casa Encendida), the latter with Álex Mendíbil. He has also curated the adaptation of the exhibition “Stanley Kubrick” at the CCCB. A lecturer on the UCJC film degree, he has taught at the UPF, the Valladolid Film Chair and the Writers’ School. As a filmmaker, he has directed the films Piccolo Grande Amore and La lava on the lips (both 2013) and has participated as an actor in Bergman’s Island by Mia Hansen-Løve.
- Christian Checa Bañuz
- Graduate in Film and Audiovisual Studies from ESCAC (2006), Bachelor in Philosophy from the UB (2009), Master in Contemporary Film and Audiovisual Studies from the UPF (2009) and PhD in Social Communication from the UPF (2016). Since 2013 he has been a lecturer in Film Analysis and Film and Thought in the first year of the Official Degree at Escac and, since 2019, Coordinator of UB-specific Master’s Degrees and the Foundation Pre-University Course. He is also the author of the book No trespassing. De los cuerpos del cine a la conspiración contemporánea, published in 2018.
- Andrés Duque
- Spanish filmmaker born in Venezuela. His work is situated on the periphery of Spanish non-fiction with a strong essayistic character. His works have won numerous awards and recognition at film festivals around the world (Punto de Vista, Cinéma du Réel, Dokufest, D’A, Unicorn Awards, Goya Awards) and have been exhibited in cultural centres such as the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Museum of Contemporary Art in Barcelona (MACBA), Museum of Modern Art in Vienna (MUMOK), Museum of Contemporary Art in Moscow (GARAGE) and the Hermitage Museum in St. Petersburg, among others. Selected filmography: Ivan Z (2004), No es la imagen es el objeto (2009), Color perro que huye (2011), Ensayo final para utopía (2012), Oleg y las raras artes (2016). Carelia: International con monumento (2019). Dioses empantanados (Chronicles of Carelia) (In pre-production).
- Jaume Duran
- He holds a PhD in Film and Audiovisuals from the University of Barcelona, a degree in Philology, a degree in Linguistics and a DEA in Art History. He is a lecturer at the University of Barcelona, as well as at ESCAC, ENTI, La Salle-URL and CITM-UPC. He has given courses and participated in international seminars and conferences. He has edited and published several works (El cine de animación norteamericano, Guía para ver y analizar Toy Story, La muerte en el cine…).
- Josep Lambies
- Journalist, film critic, academic and professor. In 2021 he obtained his PhD in Audiovisual Communication from the Universitat Pompeu Fabra, with a thesis on the figuration of the face in contemporary cinema. For more than ten years he was a member of the editorial team of Time Out magazine, first in Barcelona and then in Madrid. He has also been a regular contributor to television programmes such as Àrtic (Betevé) and radio programmes such as La tribu (Catalunya Ràdio) and Tot és comèdia (SER/Ràdio Barcelona). He currently combines research with teaching.
- Carlos Losilla
- Writer and lecturer at the Universitat Pompeu Fabra and ESCAC. Member of the editorial board of the magazines Caimán Cuadernos de Cine and La Furia Umana, his books include El cine de terror, La invención de Hollywood, En busca de Ulrich Seidl, El sitio de Viena, La invención de la modernidad, Flujos de la melancolía, Zona de sombra, Raoul Walsh and Deambulaciones. Film Diary, 2019-2020, the latter of which has just been published. He is a member of the programming team of the Festival de Cinema D’Autor de Barcelona (D’A).
- Ana Aitana Fernández Moreno
- PhD in Communication from the Universitat Pompeu Fabra. She is currently an associate lecturer at ESCAC; Tecnocampus, Universitat Pompeu Fabra; UAB and UIC where she teaches film and communication. Her lines of study are memory, the cinema of the self and family archives in non-fiction cinema. She is a member of the CINEMA collective at UPF, where she participates in the research project “Motivos Visuales en la esfera pública. Producción y Circulación de imágenes del poder en España, 2011-2017”, which has national funding. She has participated in the collective book Motivos visuales del cine (Galaxia Gutenberg, 2016), and has published in several international academic journals. She is producer and screenwriter of the documentary Pasaia Bitartean (Irati Gorostidi, 2016) and co-editor of the film website Transit.
- Eloy Fernández Porta
- A doctoral fellow at Boston College and Fellow Lecturer at Duke University, he has given seminars at the Architectural Association and UNAM and holds a PhD in Humanities from the UPF, with the Extraordinary Doctorate Award. He has published eleven books, among them, Anagrama, the essays Afterpop, Homo Sampler, €RO$ (Anagrama Prize), Emociónese así (Premi Ciutat de Barcelona), En la confidencia, L’art de fer-ne un gra massa and Las aventuras de Genitalia and Normativa. He is also the author of the studies El reflex d’en Jonàs Verí, published as a postface to John Ashbery’s Autoretrat en un mirall convex and Técnicas abortivas para una biblioteca, published as a prologue to Aborto en la escuela by Kathy Acker. His work has been translated into French by Inculte, into Portuguese by Serrote and into English by Polity Press.
- Núria Gómez Gabriel
- PhD in the field of political philosophy of communication and contemporary visual cultures. Her professional practice crosses critical pedagogies, writing and curating. In general terms, her research focuses on observing how imaginaries of power are configured and the relationship they have with the ways in which technology materialises memory. She teaches at several universities in Barcelona. Co-author of the book Love me, Tinder (Temas de hoy, 2019). She publishes on various cultural platforms (CCCBLAB Investigación e Innovación en Cultura, A*Desk Critical Thinking, Teatron) and in academic journals (Contextos, Teknokultura. Revista de Cultura Digital y Movimientos Sociales). In recent years she has collaborated as an independent curator and cultural researcher in various institutions and festivals.
- Violeta Kovacsics
- Film critic, teacher and programmer. Head of the Publications Department of the Sitges-International Fantastic Film Festival of Catalonia and member of its programming committee. She is also currently programming advisor at the International Film Festival Mannheim-Heidelberg (Holland). She holds a PhD in Film Theory, Analysis and Documentation from the Universitat Pompeu Fabra and teaches film history at ESCAC and image culture at the UOC. She has been president of the Associació Catalana de Crítics i Escriptors Cinematogràfics and publishes her articles in Caimán-Cuadernos de Cine and Diari de Tarragona. He also contributes to the radio programme Els experts, on Icat.cat, among other media. He has participated in numerous collective books on film and edited the anthology Very Funny Things: New American Comedy (2012).
- Jara Rocha
- She researches, mediates and experiments with cultural studies of technology, from an antifa and trans*feminist sensibility. As an in(ter)dependent cultural agent, she tends to attend to the semiotic-material urgencies of the mundane. She participates in collective processes such as Volumetric Regimes/Possible Bodies (with Femke Snelting), The Underground Division (with Femke Snelting and Helen Pritchard), The Relearning Series (with Martino Morandi), Vibes&Leaks/Teaching to Transgress (with Kym Ward and Xavier Gorgol). He is part of projects such as the Euraca Seminar, DONE/Fotocolectania, the Vector of Sociotechnical Conceptualisation or the Obfuscation Workshop. He often observes what worlds infrastructures bring with them, and makes textual mass logistics based on para-academic writing, experimental editing, curating, performative lecto-writing or installation work.
- Marta Rodríguez
- Freelance producer and teacher, expert in immersive narratives. She has been at the helm of several films, including The Girl from the Song (first fiction film shot at Burning Man, available on Netflix). Since 2008 he has combined his career in the film industry with teaching at ESCAC. In 2018 he co-created N.E.S.A. Labs, where he is specialising in storytelling in different formats and exploring the narrative potential of immersive experiences and XR technology.
- Manu Yáñez
- Journalist, film critic, industrial engineer from the Universitat Politècnica de Catalunya, director of the website Otros Cines Europa and Contributing Editor of the magazine Film Comment (New York). He is a regular contributor to Fotogramas magazine and Diari ARA, and is the editor of the critical anthology “La mirada americana: 50 años de Film Comment”. He teaches on the Bachelor’s and Master’s Degree in Directing at ESCAC and has given talks at the Goethe University Frankfurt and the Universitat Pompeu Fabra.
Master's Degree Final Project
The Master’s Degree Final Project (TFM) is an academic work, in written and/or audiovisual format, which develops the skills acquired during the Master’s degree. The student will apply the skills acquired during the master’s degree to combine the ideas provided by the authors and the films worked on with their own creative and original discourse.
Papers may be submitted in two different ways:
- Written work on one of the subjects on the programme, in which appropriate research methods are applied to develop a personal discourse based on specific readings and viewings.
- Audiovisual piece that develops any subject of the programme, accompanied by a report in which appropriate research methods are applied to explain the genesis of the project and the knowledge learnt during the process.
Regulations governing ESCAC Master’s Degree Final Projects
In accordance with Royal Decree 1393/2007 and Royal Decree 861/2010, a university master’s degree must end with the preparation and public defence of a Master’s Degree Final Project. The purpose of this project is to accredit that the student has integrated the knowledge learnt and has acquired the general and specific competences of the master’s degree.
- Object
- The TFM is a research project, a study or a report that involves an exercise that integrates the training received throughout the degree. This exercise involves students applying the knowledge, skills, attitudes and competences acquired throughout the master’s degree.
- Organisation
- The Master’s Coordinating Committee (CCM) is the body responsible for deciding on all matters relating to the Master’s dissertation. The Master’s coordinator will be the coordinator of the TFM subject and will be responsible for drawing up its teaching plan. The TFM must be carried out under the guidance and supervision of a tutor.
- Enrolment
- The enrolment periods for the TFM are the ordinary ones established by the centre for all the subjects of the master’s degree. The enrolled TFM that is not submitted at the end of the corresponding semester will be classified as not submitted and the student must re-enrol in the terms established in the current regulations.
- Responsibility and teaching assignments
- The coordinator of the master’s degree will inform the department in charge of the teaching assignment in order to have enough TFM tutors, depending on the number of students enrolled.
- Assignment or choice of subjects and tutors
- The Master’s CCM will establish the procedure for the assignment or election of the tutor and topic of the TFM by the students, as well as the procedure for the presentation and approval of the TFM proposals. Each student will make a request for a tutor and topic for their TFM. The CCM is responsible for the approval of the topics and the final assignment of tutors. Once the application has been approved, the student will submit his/her TFM proposal, which must contain, as a minimum, the identification of the student submitting it, the title, the name and approval of the tutor, the work objectives and a brief work plan.
- Direction
- The tutor is responsible for the guidance and supervision of the TFM. The appointment as tutor will initially entail the task of helping the student to define the TFM proposal to be approved by the CCM. Subsequently, the tutor’s guidance and supervision will be aimed at:
- The delimitation of the topic and the definition of the objectives.
- Drawing up the work plan.
- Documentary and methodological guidance.
- Monitoring the development of the work.
- Drawing conclusions.
- Providing guidelines for the defence.
- Assessment of the process developed and the results obtained.
- Assessment
- It is the responsibility of the CMM::
- To determine the timetable and the procedure for the submission of the TFM.
- To determine the conditions for the defence, which must be public and oral.
- Appoint the commissions that will have to assess the TFM, which will be made up of three lecturers, one of whom may be the one who has acted as tutor.
- The assessment system will have to be approved as part of the teaching plan for the subject.
- Before the public defence, the tutor of each TFM will have to send the president of the examining board a brief evaluation report of the TFM expressly stating his/her authorisation for the public defence.
- Deadline: 12th of June
- Oral defense: 4th and 5th of July
- It is the responsibility of the CMM::
Methodology and assessment system
Organisation and teaching methodology
The teaching is face-to-face and the mode of study is full-time.
The timetable is from Monday to Thursday from 4 p.m. to 8.30 p.m.
The number of students is 25.
The teaching is given in theory classrooms equipped with audiovisual projection systems.
For TFMs that are audiovisual pieces, the school has computer rooms and spaces and material for their production.
Classes are generally theoretical, and the teaching methodologies are lectures, expository classes, guided debate, group work and seminars. The relevant details for each subject can be found in the teaching plans.
Assessment system
As set out in the UB’s Regulations on subject teaching plans and the assessment and grading of learning (Governing Council, 8 May 2012), as a general rule, assessment is continuous and takes place within the teaching period established for the subject, in accordance with the sequence of the syllabus and the framework calendar approved by the faculty. Continuous assessment incorporates the various evidences indicated in the teaching plan, which are collected in a progressive and integrated manner throughout the teaching-learning process and which constitute significant and periodic indicators for students and teaching staff on the evolution and progress in the achievement of the knowledge, skills and values that are the object of learning in the subject.
The single assessment is a right of the student who, by exercising it, waives the right to continuous assessment. In order for a student to be able to exercise this right, he/she must request it within the established deadlines and in accordance with the procedures established by the centre. The single assessment must be able to guarantee the achievement of the objectives set for the subject.
After the publication of the grades, the centres open a period of re-evaluation, which consists of assessing the degree of achievement of the learning outcomes of the subject – competences and training objectives – and is adapted to the characteristics of the competences and training activities programmed.
The relevant details for each subject can be found in the teaching plans.