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28 September-10 November 2016


Television is essential to understand the historical evolution of audiovisual images and culture. Since its origins it has revealed itself as the most influential means of communication for masses due to its immediacy and its practically innate capacity to adapt to consumer preferences.

The technological changes that modified the means of production, distribution, and reception in the field of audiovisuals did not lose power; in fact, since the turn of century television has become one of the agents of fiction with the greatest will to take risks. So much so, that its narrative sophisticationslowly took over the predominant position occupied by cinema, which has been in a permanent state of crisis for decades.

This course will delve into some of the most daring proposals that have appeared over the years, portraying television as an evasive means of leisure, but bearing in mind the aspect of learning, for many of its products are a reflection of the period when they were created. Due to its aesthetic and formal rigour, these products are at the forefront of the audiovisual ecosystem. This is why their study in a contemporary art centre seems pertinent.

During each session brief fragments of series that provide a global vision of TV fiction throughout its history and that are useful to understand the evolution of the medium will be analysed.A platform in blog format will be created as a support tool which will supplement the contents studied in each session. The purpose of this platform is to encourage participation and promote debates during the sessions, as well as setting up a forum where students can make proposals and suggestions of their own.

HOURS: from 7:00 p.m. to 8:30 p.m.

Session 1: 28 September. GENEALOGY OF TELEVISION (1930-1980). Early broadcasts: technical, historical and social factors. The Golden Age (1945-1955). Defining television language and generic coding. Episodic Series vs Anthology Series. Television films. The birth of the sitcom: I Love Lucy. Globalization of American television fiction: Alfred Hitchcock Presents. The Twilight Zone, MASH. British quality productions: Doctor Who, Monty Python’s Flying Circus, Upstairs, Downstairs.

Session 2: 29 September. “LESS OF THE WALTONS AND MORE OF THE SIMPSONS” (1980-2000). The paradigmatic Hill Street Blues; multiple plots and new pacts with reality. L.A. Law, St. Elsewhere, Miami Vice and Murphy Brown. The dysfunctional family, Married... with Children, Will& Grace. “The dark 1990s”, Northern Exposure, Twin Peaks and The X-Files. The fan phenomenon. The coming of cable TV: Fox—a case in point. The boom of Spanish and Galician fiction.

Session 3: 20 October. TELEVISION OF THE 21ST CENTURY.
19:30 h. “It’s not TV, It’s HBO”. The Sopranos as a foundational landmark. Ecosystems of the contemporary image: generic hybridization, new formats and self-referencing. Black Mirror. True Detective. The end of the cult to the audience. Rubicon. Hyperdiegesis and new narrative dynamics. The Wire, Lost, Mad Men. The figure of the showrunner. David Simon, Shonda Rimes, Matthew Weiner.
20:30 h. The History of Stories, a presentation by Javier Olivares.

Session 4: 27 October. THE COLLAPSE OF THE POSTMODERN WRECK. Utopias and dystopias of the contemporary visual narrative. Battle star Galactica. Life on Mars. 24. The poetry of death. Six Feet Under. The Walking Dead. Sons of Anarchy. Sex and the city: Californication, Desperate Housewives, Girls. Losers and modern families: Hung, Weeds, Breaking Bad, Shameless. Humour with no belly laughs: Seinfeld, The Office, Curb Your Enthusiasm, Louie.

Session 5: 3 November. THE TRANSNATIONAL STORY. Netflix and the multiscreen universe. House of Cards, Orange is the New Black. The European power. State of Play, Les Revenants, Happy Valley, Generation War. The nordic noir: Forbrydelsen, Bron/Broen. Latin American fiction; beyond soap operas: Niño Santo, Narcos, Historia de un clan. So near and yet so far: Hatufim, Sila, You Are Beautiful.

Session 6: 10 November. THE IDIOT BOX CROSSDRESSED AS CINEMA. Cinema-television: Equivalency table. Rosellini. Bergman. Kieslowski. Boardwalk Empire. Game of Thrones. Invoking formal aspects: tools for expression and luxury wrapping. Top of the Lake. Generation Kill. Hannibal. Borgen. The Good Wife. Persuasion strategies: intros, openings, credits, endings, teasers: Cheers, Dexter, American Horror Story.

José Antonio Cascudo (Guitiriz, 1976) is the holder of a BA in History of Art and audiovisual Communication, and of a Masters degree in Information and Kowledge Society, Higher Technician Degree in Artistic Photography. He is currently finishing his dissertation A mística da feminidade en Mad Men, at the Department of Philosophy and Social Anthropology of the USC. Scriptwriter for A realidade máxica (2008), director of the documentary O instante eterno (2014) and of the experimental short film Alfa e Omega (2014). He has organised various seminars and cinema series, among them those dedicated to Alexandr Sokurov (2008) and Chris Marker (2014), both at CGAC. He has collaborated in publications such as Audiovisual Galego, Kalaikia or +Kaiser Magazine. In 2007 he published the poetry volume Manual do misántropo, and he has participated in the anthology A cidade na poesía galega do século XXI (2012).

Javier Olivares (Madrid, 1958). Graduate in History at the Complutense University of Madrid and Magister at the Instituto de Estética y Teoría de las Artes [Institute of Aesthetics and Theory of Art] (Autonomous University of Madrid). He is the creator of various TV series, including Infidels, Kubala, Moreno i Manchón (TV3), Isabel, Víctor Ros, El Ministerio del Tiempo (TVE 1). As a producer, in 2013 he founded the Cliffhanger Tv&Media ( production company for TV fiction formats. 

DIRECTOR: José Antonio Cascudo

COORDINATOR: Virginia Villar

ADDRESSED TO: The course is addressed to everyone interested in culture. No previous knowledge of the subject is required. The only requirement to attend is curiosity.

SEATS: 250

REGISTRATION: From 15 June to 27 September 2016. Those interested in participating can register by sending an email to specifying their full name, Id. No., studies, field of work or interest, and contact email address and telephone number. Once the application has been accepted, participants will receive information as to how to pay for the registration fee.

FEE: 15 € / Members of Cineclube Compostela and members of Asociación Galega de Guionistas: 10 €

CERTIFICATION: The CGAC will issue a certificate of attendance to everyone who attends at least 75% of the course.

COLLABORATOR: Cineclube de Compostela , AGAG and AGADIC


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