in Film and
Research on contemporary audiovisual culture and the history and evolution of moving images.
The Master’s Degree in Film and Screen Studies at the University of Barcelona is an official international master’s that has the aim of promoting research and reflection on contemporary audiovisual culture and the history and evolution of moving images.
The scope of the master’s degree includes both cinema – its most diverse forms (fiction, documentaries, experimental, auteur and mainstream cinema, etc.), from different perspectives (historical, aesthetic and industrial as well as in terms of cultural studies, gender studies and reception studies), and addressing innovation in said field (virtual reality, augmented reality, 360-degree cinema, XR cinema, etc.) – and the ever-changing ‘multi-screen’ universe in which contemporary society is immersed: TV series, video games, interactive content and content created especially for the internet, expanded cinema, video art, etc.
Its focus is multidisciplinary and places special emphasis on the intersection between audiovisuals and cultural studies.
The objective 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 Cinematography, Audiovisual Communication or similar degrees (from Fine Arts to Humanities) who wish to become researchers, teachers, critics of film and other formats of audiovisual creation, as well as festival programmers or content generators for cultural and exhibition institutions.
- To identify the basic parameters of the narrative and iconographic analysis of audiovisual pieces in order to be able to explore, from a personal, critical and creative point of view, the perspective they provide.
- To gain specialised knowledge on the history of film and audiovisual media in order to properly contextualise the knowledge acquired.
- To develop and communicate discourse based on research into theoretical texts and audiovisuals related to a subject, creator or trend. To master the operation of non-linear editing systems as well as programmes for the treatment, manipulation and retouching of digital images.
- To design and undertake projects based on different contemporary audiovisual languages.
- To demonstrate creative abilities in information management and project development.
- To integrate new knowledge and skills based on creativity in the cinematographic field and visual cultures.
- To develop specialised knowledge in the area of humanities and cultural studies for use in the analysis and interpretation of screen culture phenomena.
The master’s degree is aimed at research in the field of film and audiovisuals. Students can go on to be researchers, teachers, film critics and critics of other audiovisual formats, as well as festival programmers or content creators for cultural institutions or exhibition spaces.
Graduates in Cinematography, Audiovisual Communication, the Humanities, Fine Arts, Design and similar fields, interested in researching and producing spaces for reflection and creation related to the various formats and products of the ever-changing contemporary audiovisual world, which does not only include film, television and video games but also online content, transmedia storytelling, video art and expanded cinema, among others.
In accordance with the provisions of Article 16 of Royal Decree 1393/2007, of 29 October, students must hold one of the following qualifications to gain admission to official master’s degree courses:
- An official Spanish degree
- A degree issued by a higher education institution within the European Higher Education Area framework that authorises the holder to access official master’s degree courses in the country of issue.
- A qualification from outside the framework of the European Higher Education Area. In this case, the qualification should be recognised as equivalent to an official Spanish degree or the University of Barcelona shall verify that the studies correspond to a level of education equivalent to official Spanish degrees and that the holder is authorised to gain entry to official studies in the country of issue. Admission shall not, in any case, imply that prior qualifications have been recognised as equivalent to a Spanish master’s degree and does not confer recognition for any purposes other than that of admission to the master’s degree course.
- Degrees in Cinematography, Audiovisual Communication, Audiovisual Media, Fine Arts, History Of Art and similar fields.
- First period: from 25 March to 27 August 2021
- Notification of decisions: 15 September
The following documents must be submitted:
- Pre-enrolment application
- Copy of degree certificate or equivalent In case of admission, foreign degrees requiring translation must be submitted translated and legalised by appropriate diplomatic channels (http://www.ub.edu/acad/noracad/documents/legalitzacio.htm)
- Academic curriculum
- Personal statement
- Research proposal or project that you would like to develop as the end-of-master’s project. The proposal’s strength and originality will be particularly assessed as well as indications on the candidate’s research abilities and their knowledge of academic methodologies.
How to apply:
Please use the application form below and send it to firstname.lastname@example.org. Make sure you answer all of the required questions and provide a phone number and email address for us to contact you.
- Academic curriculum 35%
- Personal statement 25%
- Research proposal or project that you would like to develop as the end-of-master’s project 40%
A panel of master’s degree supervisors and teachers will grade each one of the documents in order to provide a final assessment to determine whether they have been successful or not. Candidates may be requested to attend an interview before selection is confirmed.
Enrolment calendar: from 8 to 10 September 2021
We recommend consulting the page related to grants and bursaries available to master’s degree students: https://www.ub.edu/web/ub/ca/estudis/suport_estudi/beques_ajuts/master/beques_master.html)
Grants and bursaries are available at any stage of university education for research, for participating in exchange programmes, for gaining entry to summer courses, for further studies or research conducted abroad, for working as an assistant professor, for internships in other countries, etc. Further information is available on the Mon UB grants portal.
Monday to Thursday from 4 pm to 8.30 pm.
- First Semester
- Teaching: from 4 October to 10 February.
- Assessment: from 14 February to 3 March.
- Second Semester
- Teaching: from 7 March to 23 June.
- Assesment: from 27 June to 14 July.
Holidays: 12 October, 1 November, 6, 7 & 8 December, 6 June, 24 June
Christmas holidays: from 23 December to 7 January
Easter holidays: from 11 to 18 April
Name of degree programme: Master’s Degree in Film and Screen Studies
Qualification awarded on successful completion of the Master’s degree: Master’s Degree in Film and Screen Studies at the University of Barcelona
Minimum duration of studies and ECTS credits: Two academic years and 120 ECTS credits.
The master’s degree consists of 120 credits and is studied over the course of two academic years. Compulsory subjects comprise 78 credits, elective subjects, 24, and the end-of-master’s project, 18
Maria Adell Carmona holds a PhD in Film Theory, Analysis and Documentation from the Universitat Pompeu Fabra, with the thesis “A modern star: Jean Seberg, from Preminger to 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 holds a 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 scriptwriter 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 and contemporary cinema”, “David Lean. The Geography of Emotion”, “Akira Kurosawa. The Sound and the Fury”, “Tom DiCillo. The Wizard of Oz”, “Michael Winterbottom. The Order of Chaos”, “The Hartley Variations”, “The 100 Key Films of Science Fiction”. 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. The Rebel Dreamer”.
Enric Albero (Cocentaina, 1980) has a degree in Audiovisual Communication from the Universitat de València, a Master’s in Scriptwriting from the Universidad Internacional Menéndez Pelayo and was part of the first class of the Master’s 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 graduated in Film and Audiovisual Media from ESCAC (2007) in the Documentary branch. He is a member of the pedagogy department and the coordinator of undergraduate studies at ESCAC. Obtaining a Master’s Degree in Contemporary Film and Audiovisual Studies at UPF (2020), he is currently preparing the Ph.D. in Communication at the UPF in the project modality, with an investigation on the cooperative experimental film laboratories of the Xarxa Filmlabs and the validity of the 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 also contributed to Contrapicado, Mondo Sonoro and Rockdelux magazines.
Álex Arteaga is an artistic researcher who integrates aesthetic and phenomenological practices for the investigation of environments, processes of embodiment and aesthetic cognition. He studied the music theory, piano, electronic music, composition and architecture in Barcelona and Berlin and did a Doctorate in Philosophy at the Humboldt University of Berlin. He has been visiting Professor at different universities and teaching centers such as the Helsinki University of the Arts or the Berlin University of the Arts 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 has a Degree in Social and Cultural Anthropology from the University of Seville and a Master’s Degree in Contemporary Cinema and Audiovisual studies from Pompeu Fabra. He is currently enjoying a ministerial scholarship while he teaches classes at UPF on ludoessays and new media, while completing his doctoral thesis on experimental video games. In addition, he participates in various projects of the Ministry where he investigates speculative aesthetics and the ontological turn (ETSICO group 2018-2021). He has contributed his texts to various anthologies, such as Heroes are dead. Heroism and villainy on the television of the new millennium (Dolmen, 2014) or M. Night Shyamalan. The crystal filmmaker (Almuzara, 2019). He has also coordinated and edited international academic video game and film magazines such as Lifeplay or Comparative Cinema.
Andreu Belsunces is a sociologist of design and technology. He investigates the intersection between digital cultures, technopolitics, collaborative practices, epistemology, and the semiology material agencies of fiction. He shares learning spaces at the 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 the co-founder of Becoming, an experimental action-research study 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 is, since 2019, head of the exhibitions department of the CCCB. He is the author of the books Mondo Bulldog (1999), Vida Mostrenca (2002), Todd Solondz: In the suburbs of happiness (2005) and How to end the Counterculture (2018), among others. He has curated the exhibitions «Trash Culture: a speleology of taste», «J. G. Ballard. Autopsy of the new millennium» (both at the CCCB), «Ficciones en serie» and «Ficciones en serie. Second season» (SOS 4.8) and «Plagiarism» (La Casa Encendida), the latter with Álex Mendíbil. He has also curated the adaptation of the exhibition «Stanley Kubrick» at the CCCB. Professor of the UCJC Degree in Cinema, he has taught at UPF, the Valladolid Film Chair and the School of Writers. As a filmmaker, he has directed the films Piccolo Grande Amore and Lava on the Lips (both from 2013) and has participated as an actor in Mia Hansen-Løve’s Bergman’s Island.
Christian Checa Bañuz has a Degree in Film and Audiovisuals from ESCAC (2006), a Degree in Philosophy from the UB (2009), a Master’s Degree in Contemporary Film and Audiovisual Studies from the UPF (2009) and a Ph.D. in Social Communication from the UPF (2016). Since 2013 he has been a Professor of Film Analysis and Cinema and Thought in the first year of the Official Degree of ESCAC and, since 2019, coordinator of both the ESCAC’s Masters and the Foundation Pre-University Course. He is also the author of the book No trespassing. From the cinema bodies to the contemporary conspiracy, published in 2018.
Andrés Duque is a Spanish filmmaker born in Venezuela. His work is placed at the Spanish non-fiction periphery and has a strong essayistic trait. His works have obtained numerous awards and recognitions 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 centers such as the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Museum of Contemporary Art of Barcelona (MACBA), Museum of Modern Art of Vienna (MUMOK), Museum of Contemporary Art of Moscow (GARAGE) and Hermitage Museum in Saint Petersburg, among others. Here, a selected filmography: Iván Z (2004), It is not the image is the object (2009), Color dog that flees (2011), Final essay for utopia (2012), Oleg and the rare arts (2016). Karelia: International with monument (2019). Bogged Gods (Chronicles of Carelia) (In pre-production).
Jaume Duran has a Ph.D in Cinema and Audiovisuals from the University of Barcelona, a Degree in Philology, Linguistics and DEA in Art History. He is a Professor at the University of Barcelona, as well as at ESCAC, ENTI, La Salle-URL and CITM-UPC. He has taught courses and participated in international seminars and conferences and he has edited and published various works: North American animation cinema, Guide to see and analyze Toy Story, Death in cinema, etc.
Carlos Losilla is a writer and Professor at the UPF and at ESCAC. Member of the editorial board of the magazines Caimán Cuadernos de Cine and La Furia Umana, his books include Horror Cinema, The Invention of Hollywood, Searching for Ulrich Seidl, The Siege of Vienna, The Invention of Modernity, Flows of melancholy, Shadow Zone, Raoul Walsh and Wanderings. Cinema Diary, 2019-2020, the latter of recent appearance. He is part of the programming team of the Festival de Cinema D’Autor de Barcelona (D’A).
Ana Aitana Fernández Moreno has a PhD in Communication from the Pompeu Fabra University. She is currently an associate Professor at ESCAC, Tecnocampus, Pompeu Fabra University, UAB and UIC, where she teaches cinema and communication subjects. Her fields 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 “Visual Motives in the public sphere. Production and Circulation of images of power in Spain, 2011-2017”, which has national funding. She has participated in the collective book Motivos visuales del cine (Galaxia Gutenberg, 2016), and has published in various international academic journals. She is the producer and scriptwriter of the documentary Pasaia Bitartean (Irati Gorostidi, 2016) and co-editor of the Transit cinema website.
Eloy Fernández Porta was a doctoral fellow at Boston College and a Fellow Lecturer at Duke University. He has given seminars at the Architectural Association and UNAM and is a Doctor of Humanities from UPF, with an Extraordinary Doctorate Award. He has published eleven books, being some of them the essays Afterpop, Homo Sampler, €RO$ (Anagrama Award), Emociónese así (Ciutat de Barcelona Award), En la confidencia, L’art de fer-ne un gra massa and Les aventures de Genitalia i Normativa. He is also the author of the studies El reflex d”en Jonàs Verí, published as an afterward to the Self-Portrait in a Convex Mirror, by John Ashbery, and Técnicas abortivas para una biblioteca, published as a prologue to Abortion at the school, 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 is a Doctor in the field of Political Philosophy of Communication and Contemporary Visual Cultures. Her professional practice runs through critical pedagogies, writing, and curating. In general terms, her research focuses on observing how the imaginaries of power are configured and the relationship that these have with the ways in which technology materializes memory. She works as a teacher at various universities in Barcelona. She co-authored the book Love me, Tinder (Today’s Topics, 2019) and she publishes on various cultural platforms (CCCBLAB Research and Innovation in Culture, A*Desk Critical Thinking, Teatron) and in academic journals (Contextos, Teknokultura. Journal of Digital Culture and Social Movements). In recent years, she has collaborated as an independent curator and cultural researcher at various institutions and festivals.
Violeta Kovacsics is a film critic, teacher and programmer. She is in charge of the Publications Department of the Sitges International Fantastic Cinema Festival of Catalunya and a member of its programming committee. She is currently also a programming advisor for the International Film Festival Mannheim-Heidelberg (The Netherlands). She has a Doctorate in Cinematographic Theory, Analysis and Documentation from the Pompeu Fabra University, teaches film history at ESCAC and the culture of the image at the UOC. She has been president of the Catalan Association of Cinematographic Critics and Writers and publishes her articles in Caimán Cuadernos de Cine and in the Diari de Tarragona. She also collaborates in the radio program Els experts, on Icat.cat, among other media. She has participated in numerous collegiate books on film and edited the anthology Very Funny Things: New American Comedy (2012).
Marta Piñol Lloret holds a PhD in Art History from the University of Barcelona and teaches at the University of Barcelona, ESCAC, the UIC and the UOC. She teaches History of Cinema, History and Theory of Photography, Documentary Cinema, Cinema and Visual Culture and Cinema and Visual Arts. He studied for a degree in Art History, a Master’s degree in Advanced Studies in Art History and a PhD at the University of Barcelona, obtaining the extraordinary prize in all three cases, and his thesis was awarded the UB’s Claustre de Doctors prize. He has participated in conferences, published articles and is the author of several books, including Imaginar mundos. Tiempo y memoria en la ciencia ficción (Sans Soleil Ediciones, 2019), Relaciones ocultas (Sans Soleil Ediciones, 2018), Monstruos y Monstruosidades (Sans Soleil Ediciones, 2015); translation and annotated edition of the book El Greco, by S. Eisenstein (Sans Soleil Ediciones, 2019); or co-edition with Dr. José Enrique Monterde of Crónica de un desencuentro [IVAC, 2015]). She is the author of the books Con las maletas a otra parte. La emigración española hacia Europa en el cine (Sans Soleil Ediciones, 2020) and Europa como refugio. Reflejos fílmicos de los exilios españoles (1939-2016) (Edicions de la UB, 2020).
Jara Rocha investigates, mediates and experiments with the cultural studies of technology, from an antifa and trans*feminist sensibility. As an interdependent 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) and Vibes & Leaks / Teaching to Transgress (with Kym Ward and Xavier Gorgol). She is part of projects such as the Euraca Seminar, DONE / Fotocolectania, the Vector of Sociotechnical Conceptualization or the Obfuscation Workshop. She often observes which worlds are brought by infrastructures, and she does textual mass logistics based on para-academic writing, experimental editing, curating, performing literacy or installation.
Marta Rodríguez is a freelance producer and an expert teacher in immersive narratives. She has been the head of several films, including The Girl from the Song (first fiction film shot at Burning Man, available on Netflix). Since 2008 she has combined her career in the film industry with teaching at ESCAC. In 2018 she co-creates N.E.S.A. Labs, where she is specializing in storytelling in different formats and exploring the narrative potential of immersive experiences and XR technology.
Arnau Roig Mora is a Doctor in Communications and Media from the University of Illinois. He also has a Master’s Degree in Construction of Cultural Identities, and in Studies of Women, Gender and Citizenship (both from the UB). His research focuses on the representation of LGTBI+ in the media and popular culture, taking into account the ideological discourses that are derived from them. Apart from ESCAC, he currently works as an associate at the UAB and UPF, where he has launched the first course in LGTB+ studies. He also works with LGBT+ adolescents in the OASIS project and actively participates in gender perspective policies at UPF’s Unitat d’Igualtat.
Manu Yáñez is a journalist, film critic, industrial engineer graduated from the Polytechnic University of Catalonia, director of the website Other Cinemas Europa and Contributing Editor of the Film Comment magazine (New York). He is a regular contributor to the magazine Fotogramas and Diari ARA, and is the editor of the critical anthology “The American look: 50 years of Film Comment.” He is a professor in ESCAC’s Undergraduate and Master’s Degree in Filmmaking and has given talks at the Goethe University Frankfurt and at the Pompeu Fabra University.
The End-of-master’s project is an academic project in written and/or audiovisual format, which seeks to develop the skills acquired during the master’s degree. Students will apply the skills acquired during the master’s degree in order to merge the ideas presented by creators and the films that have been studied with their own creative and original discourse.
Projects can be presented in two different formats:
- A written project on one of the course’s subjects, in which suitable research methodologies are applied in order to develop a personal discourse based on specific readings and viewings.
- An audiovisual piece that develops any one of the course’s subjects accompanied by a report using suitable research methodologies to explain the origin of the project and the knowledge learnt during the process.
Applicable regulations for ESCAC End-of-Master’s Projects
In accordance with RD 1393/2007 and RD 861/2010, a university master’s degree must conclude with the development and public defence of an End-of-Master’s project (EMP). The aim of this project is to provide evidence that students have integrated the knowledge learnt and have acquired the general and specific skills that the master’s degree seeks to provide.
The EMP is a research project, study or report integrating the learning that students have received throughout the course. This involves students applying the knowledge, skills, attitudes and competencies acquired over the course of the master’s degree.
The master’s coordinating commission (MCC) is the body in charge of all decisions related to EMPs. The master’s degree coordinator will be the coordinator of the EMP topic and will be responsible for drawing up its teaching plan. EMPs must be conducted under the guidance and supervision of a tutor.
EMP enrolment periods are the ordinary periods established by the centre for master’s degree modules. Enrolled EMPs that are not submitted at the end of the corresponding semester will be registered as not having been presented and the student will have to re-enrol according to the terms established in current regulations.
Assigned tutors and their responsibility
Depending on the number of students enrolled, the master’s degree coordinator will assign a tutor from the responsible department, in order for there to be sufficient EMP tutors.
Assignment or choice of subjects and tutors
The MCC will establish the procedure for students being assigned or choosing tutors and topics, as well as the procedure for submitting and approving EMP proposals. Each student will submit an application for their chosen tutor and subject for their EMP. The MCC is responsible for approving topics and assigning tutors. Once the application has been approved, the student will present their EMP proposal, which must contain, at a minimum, the student’s details, the title, the name and approval of the tutor, the working objectives and a brief work plan.
The tutor shall be responsible for guiding and supervising the EMP. Initially, the designated tutor will be tasked with helping the student define the EMP proposal, which must be approved by the MCC. Subsequent to this, the tutor’s guidance and supervision will be directed towards:
- Defining the topic and objectives
- Drawing up a work plan
- Providing guidance on reading material and methodologies
- Monitoring the project’s development
- Finding conclusions
- Providing guidelines for the defence of the project
- Evaluating the process that is developed and the results obtained
The MCC will be responsible for:
- Deciding the calendar and the submission procedure for EMPs.
- Determining the conditions of the defence, which must be public and oral
- Appointing the committees that will assess the EMP, which will be made up of three teachers, one of whom may be the student’s tutor.
The assessment system must be approved as part of the subject’s course plan. Prior to the public defence, the tutor of each EMP must send the head of the panel a brief EMP assessment report in which their authorisation of the public defence is expressly stated.
Teaching Methods and Organisation
Teaching is face-to-face and full-time. Teaching hours are from Monday to Thursday, from 4 pm to 8.30 pm. The number of students on the course is 25. Teaching will take place in classrooms equipped with audiovisual projection equipment. For audiovisual EMPs, the school has computer rooms as well as spaces and equipment that can be used for this purpose. Classes are generally theoretical and teaching methods include master classes, lectures, discussion-led classes, group work and seminars. The specific assessment system for each course can be found in its course plan.
As stated in the Regulations on the Course Plan of Subjects and Course Assessments and Qualifications of the UB (Governing Council, 8 May 2012), as a general rule, assessment is continuous and it takes place within the teaching period set for each subject in accordance with the progression of the syllabus and calendar approved by the centre. Continuous assessment integrates the different evidence of learning indicated in the course plan, which is collected progressively throughout the teaching/learning process, constituting significant, periodical indicators for students and teachers on the evolution and progress of the attainment of the knowledge, skills and values that comprise the course’s learning objectives.
Single assessment is the right of students, who, by exercising said right, refuse continuous assessment. In order for a student to be eligible, they must apply within the set deadlines in accordance with the procedures established by the centre. Single assessment must guarantee that the objectives established for the course are met.
After results have been published, the centres will open a re-assessment period, which consists of assessing the degree to which the leaning outcomes of the course – educational objectives and competencies – have been achieved and adapts to the characteristics of the programmed educational activities and competencies.
The specific assessment system for each course can be found in its course plan.