Dedicate yourself to your passion and learn how to preserve Audiovisual Heritage" 

It is impossible to imagine today’s world without all the audiovisual elements that make it up. Music, television and movies are a fundamental part of entertainment and culture in every country in the world. But they have always been fundmental, right from the origins of this type of entertainment, because, for example, music has played an essential role in society in many periods of history.

The importance of this type of work grew from the 19th century onwards, with the popularization of photography and the subsequent appearance of cinema and sound recording and reproduction devices such as the phonograph and the gramophone. Therefore, there are hundreds of years of audiovisual heritage that should be properly preserved, since they are historical pieces and elements that explain the cultural evolution of humanity up to the present.

For this reason, there are numerous career opportunities for experts who have specialized in this area and who have the right skills to perform this delicate and important work. This Professional master’s degree in Historic Audiovisual Heritage offers students all the necessary tools to develop a prosperous career in this area.

To this end, this degree is taught following an innovative 100% online teaching methodology, with an eminently practical approach, accompanied by numerous case studies, allowing students to balance their personal and professional lives with their studies.

Do you appreciate the historical audiovisual heritage and want to contribute to its preservation? This Professional master’s degree is what you need”

This Professional master’s degree in Historic Audiovisual Heritage contains the most complete and up-to-date program on the market. The most important features include: 

• The development of case studies presented by experts in artistic heritage and audiovisual art
• The graphic, schematic, and eminently practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

Work in film libraries and archives classifying and preserving musical, cinematographic and photographic material thanks to this degree" 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this program, as well as renowned specialists from leading societies and prestigious universities.  

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive training programmed to learn in real situations.  

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.    

Learn how to preserve Historic Audiovisual Heritage with this Professional master’s degree"

Conservators are essential in the contemporary world. Enroll and grow professionally in the artistic field"

This program in Historic Audiovisual Heritage is structured into 10 modules, through which students will be able to delve into issues such as art history, specialized sources in art history, the history of music, photography and film, and museology, among many other issues. Therefore, thanks to what they will learn in this degree, they will become highly prestigious professionals in their work environments. 

This is the most complete syllabus available to help you become a specialist in Historic Audiovisual Heritage”  

Module 1. Introduction to Art History I

1.1. Prehistoric Art

1.1.1. First Artistic Manifestations
1.1.2. Furniture Art
1.1.3. Parietal (Cave) Art
1.1.4. Megalithism

1.2. Mesopotamian and Egyptian Art

1.2.1. Historical Framework of Mesopotamia
1.2.2. Sumerian and Akkadian Art
1.2.3. Assyrian and Neo-Babylonian Art
1.2.4. Historical Background of Egypt
1.2.5. Architecture
1.2.6. Sculpture and Painting

1.3. The Art of the Orient: India and China

1.3.1. Historical Background of India
1.3.2. Architecture
1.3.3. Sculpture and Painting
1.3.4. Historical Background of China
1.3.5. Architecture
1.3.6. Sculpture and Painting

1.4. The Art of Ancient America: Olmec, Maya and Chavín

1.4.1. Historical Background of Olmec
1.4.2. Architecture and Sculpture
1.4.3. Maya Historical Background
1.4.4. Architecture and Sculpture
1.4.5. Chavín Historical Background
1.4.6. Architecture and Sculpture

1.5. Greek and Roman Art

1.5.1. Historical Background of Greece
1.5.2. Sculpture: from Archaism to Hellenism
1.5.3. Historical Background of Rome
1.5.4. Architecture and Urbanism
1.5.5. Mural Painting

1.6. Paleochristian Art

1.6.1. Historical Background
1.6.2. The Paintings of the Catacombs
1.6.3. The Basilica and the New Christian Iconography

1.7. Byzantine Art

1.7.1. Historical Background
1.7.2. Architecture
1.7.3. Painting: Mosaics and Icons

1.8. Islamic Art

1.8.1. Historical Background
1.8.2. Architectural Typologies
1.8.3. Mudejar Art

1.9. Romanesque Art

1.9.1. Historical Background
1.9.2. Pre-Romanesque Antecedents
1.9.3. Architecture Romanesque in Europe
1.9.4. Sculpture
1.9.5. Painting

1.10. Gothic Art

1.10.1. Historical Background
1.10.2. Architecture
1.10.3. Sculpture
1.10.4. Painting

Module 2. Introduction to Art History II

2.1. The Art of Renaissance

2.1.1. Historical Background
2.1.2. The Renaissance in Italy: Architecture, Writing and Painting
2.1.3. The "Geniuses" of the Renaissance: Concept of Genius

2.2. The Spread of the Renaissance in Europe and America

2.2.1. The Renaissance in Spain, France and The Netherlands
2.2.2. Renaissance in Latin America
2.2.3. Renaissance in The Netherlands

2.3. Baroque Art

2.3.1. Historical Background
2.3.2. The Baroque Period in Italy and France
2.3.3. Baroque Painting in Flanders and Holland
2.3.4. The Baroque Period in Spain and New Spain

2.4. Neoclassical Art

2.4.1. Historical Background
2.4.2. France and Spain: Art Academies
2.4.3. The Art Academy in Mexico and America

2.5. XIX Century

2.5.1. Romanticism
2.5.2. Realism
2.5.3. Impressionism
2.5.4. Post-Impressionism

2.6. The Beginning of Modern Art

2.6.1. Cubism
2.6.2. Fauvism
2.6.3. German Expressionism

2.7. The Historical Avant-Garde I

2.7.1. Avant-Garde Concept
2.7.2. Artistic Manifestos
2.7.3. Italian Futurism

2.8. Historical Avant-Garde II

2.8.1. Dadaism
2.8.2. Surrealism
2.8.3. Mexican Muralism
2.8.4. Brazilian Anthropophagous

2.9. Bauhaus

2.9.1. What was the Bauhaus?
2.9.2. Walter Gropius, Hanne Meyer and Ludwig Mies Van Der Rohe
2.9.3. Workshop Structure
2.9.4. The Architecture Section and the Social Housing Question

2.10. The Art of the Second Half of the 20th Century

2.10.1. Historical Background
2.10.2. Abstract Expressionism
2.10.3. Pop Art
2.10.4. Minimalism
2.10.5. Conceptual Art

Module 3. History of Literature

3.1. The Literary Genres

3.1.1. Introduction
3.1.2. Definition of Literary Genre

3.1.2.1. Historical Definition of Literary Genres

3.1.3. Delimitation of Literary Genres: Poetry, Narrative, Theater and Essay
3.1.4. Choose the Genre

3.2. The Creative Process and Fiction: From the Initial Idea to the Narrative Text

3.2.1. Introduction
3.2.2. First Steps of the Creative Process
3.2.3. From the Initial Idea to Fiction
3.2.4. From Fiction to Narrative Text
3.2.5. Narrative Text as an Act of Communication
3.2.6. How to Design a Fiction

3.3. The Author and the Literary Style

3.3.1. Introduction
3.3.2. The Writer vs. the Author
3.3.3. The Author's Literary Style
3.3.4. The Influence of Intertextuality
3.3.5. How to Choose a Style

3.4. The Discourse Plane: The Narrator, the Narratee and the Structure

3.4.1. Introduction
3.4.2. The Narrator and the Point of View
3.4.3. The Author vs. the Narrator
3.4.4. The Narratee
3.4.5. The Narrative Structure
3.4.6. How to Build the Discourse

3.5. The Plot of the Story: Characters, Time and Space

3.5.1. Introduction
3.5.2. The Character
3.5.3. Enunciative Relations Enunciative Relations
3.5.4. Narrative Tense
3.5.5. The Narrative Space
3.5.6. How to Create the Story

3.6. The 19th Century: The Realist and Naturalist Novels

3.6.1. Introduction
3.6.2. The 19th Century in Europe: A Brief Overview
3.6.3. Culture in the 19th Century
3.6.4. The Realist Novel in Europe (Mid-Century)
3.6.5. Some Realistic Authors: Flaubert, Dostoevsky and Tolstoy
3.6.6. The Naturalist Novel (Last Third of the Century)
3.6.7. The Naturalist Novel (Last Third of the Century)

3.7. The Narrative of M. Proust and F. Kafka in the First Decades of the 20th Century

3.7.1. Introduction
3.7.2. From the 19th to the 20th Century: The End-of-Century Crisis
3.7.3. Paris at the Turn of the Century: The Narrative of Marcel Proust (1871-1922)
3.7.4. Prague at the Turn of the Century: The Narrative of Franz Kafka (1883-1924)

3.8. English Experimentalism: J. Joyce and V. Woolf. Years 10-20

3.8.1. Introduction
3.8.2. The Renewal of English-Language Literature Since the Beginning of the Twentieth Century
3.8.3. Virginia Woolf (1882-1941) and the Bloomsbury Group
3.8.4. The Narrative of James Joyce (1882-1941)

3.9. Paris Before and After the War (between the 1920s and 1940s). From the Lost Generation to Existentialism

3.9.1. Introduction
3.9.2. The Happy 20's in Paris: Gertrude Stein and the Lost Generation
3.9.3. The 1930s: Towards Commitment in Literature
3.9.4. The 1940s: Existentialism

3.10. 50's and 60's in the United States Trends in Literature and Journalism: The Non-Fiction Novel and the New Journalism

3.10.1. Introduction
3.10.2. The United States after World War II: Literature and Journalism in the 1950s-60s
3.10.3. The New Yorker School: John Hersey and His Novels-Reportage
3.10.4. The New Journalism of the 1960s

Module 4. Sources of Art History

4.1. The Historical Source

4.1.1. Historical Source Epistemology
4.1.2. Classification of Historical Sources
4.1.3. Historical Source Location

4.2. Source Treatment

4.2.1. Source Gathering and Critique
4.2.2. Contrast of Sources
4.2.3. Data Capture and Information Management

4.3. Historical Archives

4.3.1. The Need for Archives
4.3.2. Archives in the Modern Age
4.3.3. The Digital Archive

4.4. Today's Archivists

4.4.1. Functions of the Archivist
4.4.2. The Social Status of the Archivist
4.4.3. Importance of the Archivist in Administrative Records Management

4.5. The Social and Political Community as Source Creators

4.5.1. Parish Archives
4.5.2. Municipal Archives
4.5.3. Notarial Archives
4.5.4. Judicial Archives
4.5.5. Family Archives

4.6. The Great Archival Repositories in Mexico

4.6.1. National General Archive
4.6.2. Archbishop's Archives
4.6.3. National Newspaper Archive
4.6.4. State Archives

4.7. National Library

4.7.1. Mexico’s National Library
4.7.2. Vasconcelos Library
4.7.3. Palafoxiana Library

4.8. Libraries in the Private Sector

4.8.1. Libraries in the Private Sector
4.8.2. Mexican Association of Private Archives and Libraries A.C AC

4.9. Main Historical Documents in the Modern Age

4.9.1. Main Historical Documents in the Modern Age
4.9.2. Royal Documentation in the Modern Era

4.10. Typefaces Used in the Modern Age

4.10.1. Humanistic Writing
4.10.2. The Crisis of Gothic Writing
4.10.3. Types of Modern Sculpture

Module 5. Music History I

5.1. Ancient Music

5.1.1. Prehistory, Mesopotamia and Egypt
5.1.2. Greece
5.1.3. Etruria and Rome
5.1.4. Jewish Music

5.2. Music in the Middle Ages I

5.2.1. The Christian Church in the First Millennium
5.2.2. Byzantine Chant and Gregorian Chant
5.2.3. The Development of Notation, Music Theory and Practice

5.3. Music in the Middle Ages II

5.3.1. The Liturgy and Plainchant
5.3.2. Song and Dance Music
5.3.3. Polyphony throughout the 13th Century
5.3.4. French and Italian Music in the 14th Century

5.4. Music in the Renaissance

5.4.1. Introduction
5.4.2. England and Burgundy in the 15th Century
5.4.3. Franco-Flemish Composer: Jean de Ockeghem and Antoine Busnois
5.4.4. Franco-Flemish Composer: Jacob Obrecht, Henricus Isaac and Josquin des Prez

5.5. Sacred Music during the Reformation

5.5.1. Key Figures

5.5.1.1. Martin Luther
5.5.1.2. John Calvin and Calvinism

5.5.2. Sacred Music in England
5.5.3. The Council of Trent
5.5.4. Spain and the New World

5.6. The Madrigal and the Profane Song of the 16th Century

5.6.1. Introduction
5.6.2. Madrigal Composers
5.6.3. France, Germany and England

5.7. The Appearance of Instrumental Music

5.7.1. Introduction and Instruments
5.7.2. Types of Instrumental Music
5.7.3. Music in Venice

5.8. Music in the Baroque

5.8.1. The New Styles of the 17th Century
5.8.2. Characteristics of Baroque Music
5.8.3. Claudio Monteverdi

5.9. The Invention of Opera

5.9.1. Introduction and First Operas
5.9.2. Later Dramatic Works Florence, Rome and Venice
5.9.3. Italian Opera Abroad and Mid-Century Opera

5.10. Chamber Music and Sacred Music during the First Half of the Seventeenth Century

5.10.1. Vocal Chamber Music in Italy Also Outside Italy
5.10.2. Catholic Sacred Music and Baroque Vocal Forms
5.10.3. Heinrich Schütz
5.10.4. Baroque Instrumental Music and the Concert

Module 6. Music History II

6.1. Music after Baroque and Viennese Classicism

6.1.1. Introduction
6.1.2. New Aesthetic Principles and Pre-Classical Styles
6.1.3. Opera and Its Typologies
6.1.4. Viennese Classicism
6.1.5. Joseph Haydn
6.1.6. Mozart
6.1.7. Beethoven's Era

6.2. From Classicism to Romanticism

6.2.1. Introduction
6.2.2. Transition Authors
6.2.3. Opera with Giacomo Meyerbeer
6.2.4. Italian Opera with Gioachino Rossini

6.3. Romanticism and Vocal Music

6.3.1. Romantic Style
6.3.2. General Features
6.3.3. Schumann, Mendelssohn, Brahms and Chaikovski

6.4. Instrumental Music in Romanticism

6.4.1. Music for Piano

6.4.1.1. Introduction
6.4.1.2. The German Romantic Piano: Schumann, Mendelssohn and Brahms
6.4.1.3. The Non-German Romantic Piano: Chopin, Liszt and Chaikovski

6.4.2. Chamber Music

6.4.2.1. Introduction
6.4.2.2. Schumann, Mendelssohn, Brahms, Franck and Dvořák

6.4.3. Orchestra Music
6.4.4. Programmatic Music

6.4.4.1. Introduction
6.4.4.2. Berlioz and Liszt

6.4.5. The Symphony

6.4.5.1. Introduction
6.4.5.2. German Authors: Schumann, Mendelssohn and Brahms
6.4.5.3. Non-German Authors: Bruckner, Chaikovski, Dvořák and Franck

6.4.6. Other Uses of Orchestral Music

6.4.6.1. Ballet
6.4.6.2. Incidental Music

6.5. Evolution of Opera during Romanticism

6.5.1. The Musicians of the First Romantic Generation

6.5.1.1. Berlioz, Bizet, Delibes and Gounod

6.5.2. Richard Wagner
6.5.3. Giuseppe Verdi

6.6. Musical Nationalism and Post-Romanticism

6.6.1. Introduction
6.6.2. Spanish Nationalism
6.6.3. Introduction to Post-Romanticism
6.6.4. Gustav Mahler
6.6.5. Richard Strauss
6.6.6. Hugo Wolf
6.6.7. Characteristics of Music in the First Half of the 20th Century

6.7. France and Impressionism

6.7.1. Introduction
6.7.2. The French School
6.7.3. Claude Debussy
6.7.4. Maurice Ravel
6.7.5. Erik Satie

6.8. Neoclassicism

6.8.1. Introduction
6.8.2. Ígor Stravinski
6.8.3. French Neoclassicism
6.8.4. German Neoclassicism

6.9. Musical Expressionism National Schools Contemporary to Neoclassicism and Dodecaphonism

6.9.1. Dodecaphonism

6.9.1.1. Introduction
6.9.1.2. Arnold Schönberg

6.9.2. The Second Vienna School
6.9.3. In Spain, Manuel de Falla
6.9.4. The Soviet National School

6.9.4.1. Introduction
6.9.4.2. Dmitri Shostakóvich and Serguéi Prokófiev

6.9.5. The Hungarian National School and Béla Bartók

6.10. The Avant-Garde after World War II

6.10.1. Introduction
6.10.2. The Polish Society with Witold Lutosławski and Krzysztof Penderecki
6.10.3. The Hungarian School
6.10.4. Minimalism and Postmodernism

Module 7. Museology and Heritage

7.1. The Origins of Museums

7.1.1. Near East
7.1.2. Far East
7.1.3. Greece
7.1.4. Rome
7.1.5. Middle Ages
7.1.6. Renaissance, Mannerism and Baroque
7.1.7. XVI Century
7.1.8. XVII Century
7.1.9. XVIII Century

7.2. Exhibitions

7.2.1. Introduction
7.2.2. The Limitations of the Exhibitions and Their Intricacies
7.2.3. Types of Exhibitions
7.2.4. Processions, Another form of Public Exposure

7.3. Heritage

7.3.1. Ecclesiastical Heritage
7.3.2. Institutional Frameworks, Sectors of Cultural Identification and Cultural Policies
7.3.3. Cultural Goods and Cultural Management

7.4. French Museums

7.4.1. Old Regime
7.4.2. The Enlightenment
7.4.3. The National Assembly
7.4.4. The French Museum before and after the Revolution

7.5. Museum Typologies Promoted by the National Constituent Assembly of France

7.5.1. French National History Museum
7.5.2. Museum of French Monuments
7.5.3. Louvre Museum
7.5.4. Luxembourg Palace

7.6. From Napoleon I to World War II

7.6.1. Napoleon I
7.6.2. Covered Panoramas
7.6.3. The Palace of Versailles
7.6.4. The 19th Century
7.6.5. The 20th Century
7.6.6. Germany, Italy, Russia and the United States
7.6.7. The Interruption of World War II

7.7. Museology and Museography

7.7.1. Museology and Museography
7.7.2. New Museology
7.7.3. Expansion of the Museum Concept
7.7.4. The Strategies of Museums

7.7.4.1. Anglo-Saxon Strategy
7.7.4.2. Mediterranean Strategy

7.8. North American Museums

7.8.1. Characteristics of North American Museums
7.8.2. Financial System
7.8.3. The Museums that Make up the TRUST

7.9. Museums and Relevant Figures

7.9.1. Whitney Museum of American Art
7.9.2. Isabella Stewart Gardner Museum in Boston
7.9.3. Albright-Knox Art Gallery
7.9.4. Key Figures in Patronage

    7.9.4.1. Gertrude Stein

7.10. Museums and Their History

7.10.1. Ancient Art Museums
7.10.2. Art Museums of the Middle Age
7.10.3. Museums Art of the Modern Age
7.10.4. Contemporary Art Museums

Module 8. Film History

8.1. The Origins of Film First Cinematographic Movements

8.1.1. The Group of Pioneers
8.1.2. Georges Melié's Films
8.1.3. The Brighton School
8.1.4. Fil d’Art
8.1.5. Kolosal Movement

8.2. The Articulation of the Cinematographic Language. The Splendor of Silent Film

8.2.1. Towards a Cinematographic Language: David W. Griffith
8.2.2. German Expressionist Films
8.2.3. Revolutionary Soviet Films

8.3. Classic Hollywood Film I

8.3.1. The Study System
8.3.2. Hollywood Stars
8.3.3. Hollywood: Genre Factory
8.3.4. The Theory of Film Genres

8.4. Classic Hollywood Film II

8.4.1. The Genres in Classic American Cinema: Drama, Comedy, Film Noir

8.5. Classic Hollywood Film III

8.5.1. Genres in Classic American Film: Thrillers, Westerns, War films, Musicals, etc
8.5.2. The Evolution of the Genres

8.6. European Film after World War II

8.6.1. The Crisis of the Classical Model: Historical Context Neorealism
8.6.2. The New Film: New Wave
8.6.3. The New Cinemas: The Free Cinema

8.7. Classical and Modern Vanguards

8.7.1. Experimental Film
8.7.2. Expressionism, Dadaism, Surrealism
8.7.3. Study Cases

8.8. The Survival and Decline of the Classics The New Hollywood

8.8.1. European Contributions to American Film
8.8.2. Authors and Films

8.9. Other Films of the Contemporary Era

8.9.1. British Social Film
8.9.2. Dogma Movement
8.9.3. Auteur Films

8.10. Technology and Aesthetics: Film in the Audiovisual Age

8.10.1. The Advent of Digital Film
8.10.2. Case Studies

Module 9. Photography History

9.1. The Start of Photography

9.1.1. Introduction
9.1.2. The Camera Obscura
9.1.3. Niépce: The Invention of Photoengraving and Photography

9.2. Niépce and Daguerre

9.2.1. Louis Daguerre
9.2.3. The Physautotype of Niépce and Daguerre
9.2.4. Isidore, the Son of Niépce

9.3. Other Fathers of Photography

9.3.1. William Fox Talbot and the Calotype
9.3.2. Hippolythe Bayard, John Herschel and Hippolyte Fizeau
9.3.3. Claude Félix Abel Niépce de Saint Victor and Frederick Scott Archer
9.3.4. Richard Maddox and Charles Bennet

9.4. Color Introduction

9.4.1. Introduction
9.4.2. Anna Atkins and Cyanotype
9.4.3. The Lumière Brothers, Linked to Film

9.5. The Position of Artists, Art Critics and Photographers in the Face of the Emergence of Photography

9.5.1. Introduction
9.5.2. The Position of the Painter Delacroix
9.5.3. Edgar Degas and Other Artists Use Photography
9.5.4. Man Ray

9.6. Photographic Portraits

9.6.1. Introduction
9.6.2. Nadar
9.6.3. Julia Margaret Cameron

9.7. The Nièpce Process in the History of Photography

9.7.1. Introduction
9.7.2. The Lithophotography of Barreswill, Davanne, Lemercier and Lerebours
9.7.3. The Heliographic Engraving of Charles Nègre
9.7.4. Édouard Denis Baldu
9.7.5. The Invention of the Plot
9.7.6. The Similigraphy
9.7.7. The Zincography

9.8. Photography as Art

9.8.1. Introduction
9.8.2. Peter Henry Emerson and Henry Peach Robinson
9.8.3. Edward Steichen, Alfred Stieglitz and José Ortiz Echagüe

9.9. End of the 19th and 20th Century in Photography

9.9.1. Introduction
9.9.2. Documentary Photography as a Document
9.9.3. Travel and Social Photography

9.10. The Vanguards

9.10.1. Photographic Dadaism
9.10.2. Surrealism in Photography
9.10.3. Futuristic Photography

Module 10. Contemporary Art to the Present

10.1. Introduction

10.1.1. The Search for Modernity in Contemporary Architecture after the Overcoming of Artistic Styles
10.1.2. Western Architecture from the Mid-19th Century to the First World War

10.2. The Modern Movement in Architecture

10.2.1. Rationalism, Functionalism and Avant-Garde Modern Movement and International Style
10.2.2. The Utopias of Russian Futurism, Expressionism and Constructivism
10.2.3. Architecture and Totalitarianism

10.3. Architecture after World War II (1945-1965)

10.3.1. The Spread of the International Style in the U.S. and Postwar Reconstruction in Europe
10.3.2. The Evolution of the CIAMs (International Congress of Modern Architecture) and Rationalist Urbanism
10.3.3. Organicism
10.3.4. Brutalism and Structural Expressionism

10.4. Architecture of Deconstruction and Recycling (1965-)

10.4.1. High Technology
10.4.2. Deconstruction in Architecture
10.4.3. The Era of Dispersion

10.5. Impressionism and the Origins of Modern Art I

10.5.1. Impressionism: Color as a Tool for the Transformation of Painting
10.5.2. Historical Avant-Garde: Post-Impressionism, Pointillism, Neo-Impressionism, Fauvism

10.6. Impressionism and the Origins of Modern Art II

10.6.1. The Analytical Way: Cubism and the Transformation of Art from the Volume of Things Futurism
10.6.2. The Spiritual Path: Kandinsky, Malevich, Mondrian and Abstraction
10.6.3. The Subjective Way: Expressionism and Surrealism

10.7. The New Art System after World War II The Institutionalization of the Avant-Garde

10.7.1. The Intellectual Way: Duchamp, from Dadaism to Conceptual Art

10.8. Pop Art: Popular Taste and Kitsch vs. "High Culture"

10.8.1. The Ironic Way: Warhol and Pop Art
10.8.2. Influences of Pop Art in Cinema

10.9. Minimal and Conceptual Art

10.9.1. Towards the Dematerialization of the Work of Art: Minimal and Conceptual Art
10.9.2. Arts of Action: Criticism of the System Performance, Improvisation, Body Art, Land Art

10.10. Postmodernity. The Return to Painting: Transavantgarde and Neo-Expressionism

10.10.1. The Return of Painting: Transavantgarde and Neo-Expressionism
10.10.2. Art and Post-Structuralism
10.10.3. Committed Options 

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