|Guía Docente 2019-20|
ESTÉTICA DEL VIDEOJUEGO
|Subject:||ESTÉTICA DEL VIDEOJUEGO|
|Programme:||GRADUADO EN DISEÑO Y DESARROLLO DE VIDEOJUEGOS. 2013 (BOE 28/03/2014)|
|Module:||DISEÑO DE VIDEOJUEGOS|
|Year:||4||Teaching period:||Primer Cuatrimestre|
|Classroom activities:||65||Individual study:||85|
|Main teaching language:||Inglés||Secondary teaching language:||Castellano|
|Lecturer:||CALVO ANORO, JAVIER (T)||Email:||firstname.lastname@example.org|
This subject intends to be a study of videogames as an art form by which a group of authors communicate their aesthetic aspirations. A way of expression directed to the mind and heart of gamers, as games try to stimulate our senses into an artificial world that is linked to our passions, reflections and interests. During the course, different audiovisual resources of creation will be explored in order to better understand and analyze how an artistic mind works from the side of games development. Besides, it will explore the ludic nature of the videogame field and its consequences on depiction, reality and user experiences. Philosophy, psychology and social discourse aspects will be debated in order to understand videogame as a field of human creation in its widest possible way.
PROFESSIONAL COMPETENCES ACQUIRED IN THE SUBJECT:
|General programme competences||G04||Ability to critically think about information, data and lines of action and their implementation in relevant social, scientific ethical issues.|
|Specific programme competences||E20||Ability to generate and analyse expressive and narrative resources and their application to video games.|
|E21||Ability to execute the art of video games, create characters and settings.|
|E34||Ability to create and analyse games on their fundamentals and develop the understanding of what are the keys that determine how they work and their development.|
|Learning outcomes||R01||Understand the importance of the aesthetics of video games|
|R02||Learn the basics of the history and aesthetics of video games|
|R03||Assess the aesthetic evolution of video games|
|R04||Describe the implications of the development of technologies (optical, electronic, digital) in the evolution of video creation.|
|R05||Understand the evolution of audiovisual forms, linking methods of film representation to social, political, cultural and ideological transformations that have occurred since the middle of the twentieth century.|
Interest (and passion) in videogames and art.
Students will need to have a minimum B1 level in English in order to take this subject, as it will be taught entirely in English.
|1 - VIDEOGAMES AND THE HUMANISTIC PERSPECTIVE: LUDOLOGY AND SIMULATION|
|1.1 - Introduction|
|2 - AN INTRODUCTION TO AESTHETICS|
|2.1 - The concept of aesthetics|
|2.2 - Videogame as a form of art|
|3 - FICTIONAL WORLDS IN VIDEOGAMES: REALITY AND ABSTRACTION|
|3.1 - Realism in audiovisual representation|
|3.2 - Realism and depiction in videogames|
|4 - RESOURCES IN AUDIOVISUAL AESTHETICS|
|4.1 - Lights and colour; eyes and heart|
|4.2 - Audiovisual space and digital space|
|4.3 - The sound of the music|
|5 - REPRESENTATION AND SOCIAL DISCOURSE IN VIDEOGAMES|
|5.1 - The avatar and I|
|5.2 - Talking about things: discourse and social communication|
|6 - EMOTION AND EXPERIENCE: HOW VIDEOGAMES MADE ME CRY|
|6.1 - Introduction|
|7 - ETHICS AND MORALITY IN VIDEOGAMES|
|7.1 - Theories of effects in social interaction|
|7.2 - Violence, crime and mushrooms|
Subject planning could be modified due unforeseen circumstances (group performance, availability of resources, changes to academic calendar etc.) and should not, therefore, be considered to be definitive.
TEACHING AND LEARNING METHODOLOGIES AND ACTIVITIES:
Teaching and learning methodologies and activities applied:
Theory/ practice classes: theory content is provided by the teacher in face to face sessions where practice cases (example analyses, debates, etc.) will be presented to strengthen different aspects of the subject.
Final dissertation and individual/ group coursework: it will be done during the independent learning time. Instructions will be provided during the classes.
Tutorials: students can request a personal meeting with the teacher to solve doubts, guide their work or any other need.
Student work load:
|Teaching mode||Teaching methods||Estimated hours|
|Other theory activities||5|
|Films, videos, documentaries etc.||2|
|Individual coursework preparation||28|
|Group cousework preparation||14|
Calculation of final mark:
*Las observaciones específicas sobre el sistema de evaluación serán comunicadas por escrito a los alumnos al inicio de la materia.
BIBLIOGRAPHY AND DOCUMENTATION:
|WOLF, M. & PERRON, B. The videogame theory reader. New York: Routledge, 2003.|
|TAVINOR, G. The art in videogames. New Jersey: Wiley-Blackwell, 2009.|
|WOLF, M. & PERRON, B. The videogame theory reader 2. New York: Routledge, 2009.|
|COLLINS, K. Game sound : an introduction to the history, theory, and practice of video game música and sound design. Cambridge, MA: MIT Press, 2008.|
|SCOLARI, C.A. Homo videoludens 2.0: de Pacman a la gamificación. Barcelona: Universitat de Barcelona, Laboratori de Mitjans Interactius, 2013.|
|JENKINS, H. Fans, blogueros y videojuegos: la cultura de la colaboración. Barcelona: Paidós, 2009.|
|AUMONT, J. Aesthetics of film. Austin: University of Texas, 2004.|
|SCHELL, J. The art of game design: a book of lenses. Pittsburgh: Carnegie Mellon University and Schell Games, 2015.|