Storytelling is a human action. Humankind practices it from memorial times until these days. Stories are important for species survival since through these knowledge is transfer from generation to the next one and social identity of communities is built. Each era is defined by social and cultural changes as well as technological innovations. At the same time, these three concepts weighs in the creation of stories, as set out today: stories are produced and widespread on social media as communicational actions, which are linked by a new teller: the media prosumer

In the last two centuries, human society went through radical changes in the way they communicates. Consequence of constantly technology innovation, adverstising became into a main character inside this invigorated context, where all the audiovisual narratives forms evolve to create messages that reach the target attention. But more than commercial objectives, the social message has been developed in order to change attitudes in the entire population on the ad campaigns. These social messages produce some positive thoughts around important issues in society such us health, ecology, education, human rights, etc. and also generated several communicational strategies that leads to their own way for creating, producing or printing/posting/airing advertising which are important and reknown because of its common interests and strategies for narrative construction.

Human communication is the process which allows the human being to evolve as specie in an unfavorable world. Humanity found images, followed then by words, considered both as powerful tools that help to deliver information generation after generation. Sum of them provided the creation of infographies or information graphics, a very important application in the journalist field. However, they are very well used on fields such as advertising and organizational communications; this work tries to offer new options applying the infographic discipline but also to understand as a very efficient and decisiveway to represents our reality.

Media literacy, or educommunication, has audiovisual literacy as one of its dimensions. This has always been promoted for application in schools and civil society, however, there are not many studies on its application in the university setting. Therefore, this research aims to study audiovisual literacy applied in communication faculties in Latin America through the teaching of the documentary genre. A qualitative approach was used through semi-structured interviews with teachers from educational institutions in nine countries in the region. The results obtained show that, although curricula do not explicitly address it, teachers and students carry out this literacy at different levels and depths, which is why an initial typology is proposed consisting of audiovisual literacy: by genre, intergeneric, transversal, and instrumental.

La evolución de la narrativa audiovisual. Analógica, transmedia y social media de Gerardo Karbaum propone una revisión de cómo ha evolucionado la narrativa audiovisual a través de esos tres periodos, con la finalidad de responder las grandes preguntas que surgen en torno al futuro. ¿Qué les depara a las industrias mediáticas? ¿Cuál es y será el rol —cada vez más relevante— de los prosumidores (productores y consumidores) en esta nueva dinámica comunicacional? En este libro lo descubrirás.

Film festivals are places of encounter where different social actors come together, including professionals from the audio-visual industry, students, film buffs, and journalists, as well as the figures who organise these events. The aim of this research is to describe the journalistic coverage of film festivals carried out by the Ibero-American media, which is composed of generalist, traditional, specialised, and digital native outlets. The authors have used a qualitative methodology based on semi-structured interviews with film journalists and festival managers. The most significant findings reveal that each journalist develops their own particular type of frame building to cover an event, which is subject to the informative agenda of the media through which they are commissioned. At the same time, new actors such as influencers have also appeared, who report on the festivals as well. I...

COVID-19 halted social activities across the planet; including sports. The pandemic caused an unprecedented crisis in the audiovisual media that broadcast these events, which found themselves with the immediate need to restructure their content offer, for which they had to innovate in their production and programming processes. This research aims to describe the innovations in audiovisual journalistic production applied in sports media in various countries during the crisis caused by COVID-19. To comply with this, the qualitative approach was applied with the semi-structured interview technique to a sample of producers, journalists and filmmakers. The interview was oriented according to the main constituent stages of audiovisual production, such as pre-production, coverage and post-production. Based on what has been studied, it is concluded that the global crisis caused by the pandemic e...

Descripción: El lenguaje audiovisual es tanto un medio de comunicación como uno de creación donde las imágenes, sonidos, música, segmentos de realidad imaginada conforman un medio fascinante donde las historias cobran vida. En este curso aprenderás las reglas y adquirirás las herramientas necesarias para contar historias audiovisuales coherentes, eficaces y entretenidas. En un mundo sediento por entretenimiento y estímulos estarás preparado para hacer que tus historias resalten y así ganarte un lugar en la historia del cine. Propósito: Lenguaje Audiovisual es un curso de especialidad de la Carrera de Comunicación Audiovisual y Medios Interactivos de carácter teórico-práctico, dirigido a estudiantes del cuarto ciclo. El curso desarrolla la competencia general de comunicación escrita y la competencia específica de Lenguaje Audiovisual.

As soon as the spread of the covid-19 began, the media’s information production was affected by social distancing restrictions and journalists were exposed health hazards in an attempt to carry out their jobs. This study aims at learning about the transformations undergone by the television newscasts production in Peru, one of the most affected countries by the pandemic at a global level. Qualitative methods were applied through semi-structured interviews with journalists working during the said period, obtaining results that evince the implementation of several devices and unconventional or unsuitable television processes. This issue is cross-sectional through the three audiovisual production stages—namely, pre-production, media coverage, and post-production—a situation that has never taken place so intensely and permanently. All this leads to the conclusion that the newscasts pro...

Media literacy, or educommunication, has audiovisual literacy as one of its dimensions. This has always been promoted for application in schools and civil society, however, there are not many studies on its application in the university setting. Therefore, this research aims to study audiovisual literacy applied in communication faculties in Latin America through the teaching of the documentary genre. A qualitative approach was used through semi-structured interviews with teachers from educational institutions in nine countries in the region. The results obtained show that, although curricula do not explicitly address it, teachers and students carry out this literacy at different levels and depths, which is why an initial typology is proposed consisting of audiovisual literacy: by genre, intergeneric, transversal, and instrumental.

Este libro surge de nuestro interés compartido por la minuciosa observación, el análisis, la interpretación y la experimentación en torno al mundo audiovisual, ello, a partir de nuestra experiencia como docentes universitarios y el ejercicio profesional en los canales de televisión más importantes del país. Con esta obra esperamos contribuir a que estudiantes, profesores, profesionales y personas en general inicien su camino hacia la alfabetización audiovisual, y aviven su interés por esta apasionante disciplina que cuenta historias y comparte conocimientos con su peculiar estilo: utilizando cámaras de video, islas de edición, guiones y demás. Pero, sobre todo, valiéndose de la creatividad humana que es tan crucial para nuestro desarrollo cultural.

In the last two centuries, human society went through radical changes in the way they communicates. Consequence of constantly technology innovation, adverstising became into a main character inside this invigorated context, where all the audiovisual narratives forms evolve to create messages that reach the target attention. But more than commercial objectives, the social message has been developed in order to change attitudes in the entire population on the ad campaigns. These social messages produce some positive thoughts around important issues in society such us health, ecology, education, human rights, etc. and also generated several communicational strategies that leads to their own way for creating, producing or printing/posting/airing advertising which are important and reknown because of its common interests and strategies for narrative construction.

Human communication is the process which allows the human being to evolve as specie in an unfavorable world. Humanity found images, followed then by words, considered both as powerful tools that help to deliver information generation after generation. Sum of them provided the creation of infographies or information graphics, a very important application in the journalist field. However, they are very well used on fields such as advertising and organizational communications; this work tries to offer new options applying the infographic discipline but also to understand as a very efficient and decisiveway to represents our reality.

Storytelling is a human action. Humankind practices it from memorial times until these days. Stories are important for species survival since through these knowledge is transfer from generation to the next one and social identity of communities is built. Each era is defined by social and cultural changes as well as technological innovations. At the same time, these three concepts weighs in the creation of stories, as set out today: stories are produced and widespread on social media as communicational actions, which are linked by a new teller: the media prosumer

Discursive translation allows us to explain how discourses, genres, or formats are transferred and adapted from an existing medium to an emerging one. To verify this phenomenon, the present research focused on studying this process in journalistic coverage of Ibero-American film festivals. Therefore, the objective is to describe the development of the methods of discursive translation and hybridisation of journalistic genres applied to reporting on film festivals in Ibero-America. Regarding the methodology, a qualitative approach was used with a reflexive thematic analysis design, applying the semi-structured interview technique to journalists who cover festivals and event managers. Regarding the results, discursive translation is being carried out intensively by journalists who create their digital media and are hybridising a variety of journalistic genres, which is allowing the revital...

OBJETIVO: El presente estudio tiene como objetivo conocer de qué manera el CONTENIDO NARRATIVO se relaciona con el LENGUAJE AUDIOVISUAL a través la campaña “El Perú tiene corazón-Honda. Año 2016”. MÉTODO: Diseño de investigación: No experimental; Tipo de investigación: Aplicativa; Nivel de investigación: Descriptivo, correlacional; Método de investigación: Inductivo, deductivo, analítico, estadístico, hermenéutico; Población: 120 alumnos de los talleres publicidad de la Escuela de Ciencias de la Comunicación de la Facultad de Ciencias de la Comunicación, Turismo y Psicología de la USMP. Muestra: 25 alumnos de los talleres publicidad de la Escuela de Ciencias de la Comunicación de la Facultad de Ciencias d la Comunicación, Turismo y Psicología de la USMP. CONCLUSIONES: El CONTENIDO NARRATIVO se relaciona con el LENGUAJE AUDIOVISUAL en el spot El Perú tiene cora...

Descripción: El lenguaje audiovisual es tanto un medio de comunicación como uno de creación donde las imágenes, sonidos, música, segmentos de realidad imaginada conforman un medio fascinante donde las historias cobran vida. En este curso aprenderás las reglas y adquirirás las herramientas necesarias para contar historias audiovisuales coherentes, eficaces y entretenidas. En un mundo sediento por entretenimiento y estímulos estarás preparado para hacer que tus historias resalten y así ganarte un lugar en la historia del cine. Propósito: Lenguaje Audiovisual es un curso de especialidad de la Carrera de Comunicación Audiovisual y Medios Interactivos de carácter teórico-práctico, dirigido a estudiantes del cuarto ciclo. El curso desarrolla la competencia general de comunicación escrita y la competencia específica de Lenguaje Audiovisual.

Descripción: El lenguaje audiovisual es tanto un medio de comunicación como uno de creación donde las imágenes, sonidos, música, segmentos de realidad imaginada conforman un medio fascinante donde las historias cobran vida. En este curso aprenderás las reglas y adquirirás las herramientas necesarias para contar historias audiovisuales coherentes, eficaces y entretenidas. En un mundo sediento por entretenimiento y estímulos estarás preparado para hacer que tus historias resalten y así ganarte un lugar en la historia del cine. Propósito: Lenguaje Audiovisual es un curso de especialidad de la Carrera de Comunicación Audiovisual y Medios Interactivos de carácter teórico-práctico, dirigido a estudiantes del cuarto ciclo. El curso desarrolla la competencia general de comunicación escrita y la competencia específica de Lenguaje Audiovisual.

Descripción: El curso aborda las nuevas formas de generar contenido televisivo en el marco de la comunicación transmedia e interactiva. Donde el universo narrativo se encuentra en constante expansión a través de diversas plataformas, de manera estratégica y cercana a un usuario activo. Propósito: El Taller de Televisión Interactiva, tiene como objetivo crear, producir y realizar un proyecto de narrativa transmedia e interactiva, con el propósito de brindarle al estudiante una experiencia de investigación activa, de manera teórica y práctica. El curso contribuye directamente al desarrollo de las competencias generales Comunicación Oral, Ciudadanía y Pensamiento innovador y de las competencias específicas de Técnica y tecnología audiovisual e interactiva y Análisis y comprensión de la realidad peruana.

Descripción: El curso aborda las nuevas formas de generar contenido televisivo en el marco de la comunicación transmedia e interactiva. Donde el universo narrativo se encuentra en constante expansión a través de diversas plataformas, de manera estratégica y cercana a un usuario activo. Propósito: El Taller de Televisión Interactiva, tiene como objetivo crear, producir y realizar un proyecto de narrativa transmedia e interactiva, con el propósito de brindarle al estudiante una experiencia de investigación activa, de manera teórica y práctica. El curso contribuye directamente al desarrollo de las competencias generales Comunicación Oral, Ciudadanía y Pensamiento innovador y de las competencias específicas de Técnica y tecnología y Análisis y comprensión de la realidad peruana.