Media Landscape

Universidad Carlos III de Madrid

Course Description

  • Course Name

    Media Landscape

  • Host University

    Universidad Carlos III de Madrid

  • Location

    Madrid, Spain

  • Area of Study

    Film Studies, Media Studies, Radio/Television/Film

  • Language Level

    Taught In English

  • Course Level Recommendations

    Upper

    ISA offers course level recommendations in an effort to facilitate the determination of course levels by credential evaluators.We advice each institution to have their own credentials evaluator make the final decision regrading course levels.

    Hours & Credits

  • ECTS Credits

    6
  • Recommended U.S. Semester Credits
    3
  • Recommended U.S. Quarter Units
    4
  • Overview

    COMPETENCES AND SKILLS THAT WILL BE ACQUIRED AND LEARNING RESULTS

    1. Basic general knowledge about the audiovisual system function (main contents, main authors, class readings).
    2. Ability to apply theoretical and critical analysis to media institutions (main ideas and concepts comprehension, personal analysis and its communication by the student).
    3. Understanding of the problems and questions aroused by the media landscape

    DESCRIPTION OF CONTENTS: PROGRAMME

    I. Film Industry

    Lesson 1: What are we talking about?

    Lesson 2: The Film Industry: an overview
    Film as a cultural industry
    Main actors
    The beginnings of cinema: Who invented cinema? Kinetoscope vs. Cinematographe. European Hegemony. An international business.
    Reading: The Political Economy of Film, by Janet Wasko.

    Lesson 3: Hollywood hegemony
    Historical reasons: WWI and WWII.
    Economical reasons: End of the Edison¿s trust. Hollywood. Fordism.
    Cultural reasons: From melting pot to salad bowl. Modernity (Hansen).
    Political reasons. The Little State Department and the Falacy of the laissez faire: The MPAA as a lobby. Independence? Rating system?
    Relationship between the United States government and the MPAA.
    Conclusion: Oligopoly. Competence inside / collaboration outside. Distribution control.
    Reading: Global Cultural Industries: New Strategies, Old Motivations, by Janet Wasko

    Lesson 4: Hollywood hegemony (II). Not Only Films.
    Hollywood after WWII
    The Windows System: Dollars beyond tickets
    The digital revolution and the piracy troubles
    Media concentration
    Majors and indies
    Synergy
    Other revenues
    Reading: Scans from The Global Transformations Reader, by David Held and Anthony G. McGrew and The Structure and Dynamics of Global Multi-Media Business Networks by Manuel castells and Amelia h. Arsenault.
    Lesson 5: Hollywood today
    New Industrial Division of Labor
    Runaway production
    Reading: Scans from Global Hollywood 2, by Toby Miller et al

    Lesson 6: Government and the movie industry I:
    Reasons for the
    An abridge history of European government activities
    From cultural exception to cultural diversity
    Disney and children's culture
    Reading: Cultural Exception, national policies and globalization, by Divina Fraug Meis

    Lesson 7: The State and the movie industry II MID TERM EXAM!!
    Types of helps
    European Regulation: Television Without Frontiers
    Problems and consequences
    Reading: Television Whithout Frontiers

    II. Television Industry

    Lesson 8: Television Industry: an overview
    Main actors and their activities
    Television birth
    The government influence
    Lesson 9: American Television
    Features
    The ¿big five¿
    The PBS
    Financing
    FCC
    Reading: Watching Television: A Political Economic Approach, by Eileen R. Meehan
    Reading: TBA

    Lesson 10: European Television
    Features
    BBC
    Public Service
    Financing
    Ofcom
    Reading: Public Broadcasting and Democratic Culture: Consumer, citizens and communards, by Graham Murdock

    Lesson 11:Deregulation and re-regulation
    New times, new politics. The Crisis
    In United States
    PBS crisis
    Reading: Scans from European Television in the Digital Age, by Stylianos Papathanassopoulos and Public Service Broadcasting Beyond 2000: Is There a Future for Public Service Broadcasting?, by Collins et al.

    Lesson 12: Pay Tv / television contents
    Types of pay tv
    The Birth of HBO
    IpTV
    Reading: The Inflow of American Television Fiction on European Broadcasting, by Else de Bens.

    Lesson 13: Your TV. Comments about your TV

    Lesson 14: Doubts

    Selected Filmography:

    Casablanca (Michael Curtiz, 1942)
    Why we fight? (Frank Capra, 1942)
    The Battle of Midway (John Ford, 1942)
    Quiz Show (Robert Redford, 1994)
    The Player (Robert Altman, 1992)
    The Bad and the Beautiful (Vincente Minelli, 1952)
    Transformers (Michael Bay, 2007)

    LEARNING ACTIVITIES AND METHODOLOGY
    English Course:

    60% Final exam
    10% Mid term exam
    10% Participation in class
    20 % Weekly assignments (to be delivered together during the last class)
    Summaries
    Personal questions

    VERY IMPORTANT: It is ABSOLUTELY necessary to pass the final exam to be evaluated

    *There is a lot of work in the course, if you procrastinate on assignments, you will not be able to catch up.
    *The assignments are not just busy work. By doing the assignments, you will be gaining valuable knowledge and skills. Further, each assignment builds upon the knowledge and skills of the previous one.
    *We will have time to provide feedback to you on how to improve your work, which you can apply to your future assignments.

Course Disclaimer

Please note that there are no beginning level Spanish courses offered in this program.

Courses and course hours of instruction are subject to change.

Eligibility for courses may be subject to a placement exam and/or pre-requisites.

Credits earned vary according to the policies of the students' home institutions. According to ISA policy and possible visa requirements, students must maintain full-time enrollment status, as determined by their home institutions, for the duration of the program.

ECTS (European Credit Transfer and Accumulation System) credits are converted to semester credits/quarter units differently among U.S. universities. Students should confirm the conversion scale used at their home university when determining credit transfer.

Please reference fall and spring course lists as not all courses are taught during both semesters.

Availability of courses is based on enrollment numbers. All students should seek pre-approval for alternate courses in the event of last minute class cancellations

Please note that some courses with locals have recommended prerequisite courses. It is the student's responsibility to consult any recommended prerequisites prior to enrolling in their course.