The theoretical foundations and practical knowledge, essential to work in fiction making"

Fiction production in the audiovisual sector starts with a dose of creativity, this is true and indispensable. But it develops, from there, through a structured and clear form of work that covers different phases and different and complementary areas.  

The making of fiction brings into play numerous agents who collaborate to build the final product. In this university course, we will guide you through all of them so that you learn how to bring an idea to the screen successfully and well done.  

In this way, we will focus in a special way on the direction of actors. A fundamental area of intervention in which the personality of the project will be clear and will give it its own personality. 

The keys to bringing, to any idea, the development necessary to become a competitive fiction product"

This Postgraduate certificate in Fiction Production and Acting Direction contains the most complete and up-to-date program on the market. The most important features include:

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practicing experts
• State-of-the-art interactive video systems
• Teaching supported by tele-practice 
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-evaluation and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is accessible from any fixed or portable device with an Internet connection
• Banks of complementary documentation are permanently available, even after the Postgraduate Studies   

A contextualized and real educational program that will allow you to put your learning into practice through new skills"

Our teaching staff is made up of working professionals. In this way, we ensure that we provide you with the educational update we are aiming for. A multidisciplinary team of professors prepared and experienced in different environments who will cover the theoretical knowledge in an efficient way, but, above all, who will put the practical knowledge derived from their own experience at the service of Studies: one of its differential qualities.

This mastery of the subject is complemented by the effectiveness of the methodology used in the design of this course. Developed by a multidisciplinary team of e-learning experts, it integrates the latest advances in educational technology. This way, you will be able to study with a range of comfortable and versatile multimedia tools that will give you the operability you need in your education.

The design of this program is based on Problem-Based Learning: an approach that conceives learning as a highly practical process. To achieve this remotely, we will use tele-practice: with the help of an innovative interactive video system, and learning from an expert, you will be able to acquire the knowledge as if you were actually dealing with the scenario you are learning about. A concept that will allow you to integrate and fix learning in a more realistic and permanent way.      

The Film Studies program is a highly interesting qualification for the professional in this sector"

A realistic and practical Postgraduate certificate that will allow you to advance gradually and safely"

The syllabus of the Postgraduate certificate is structured as a comprehensive tour through each and every one of the concepts required to understand and work in this field. With an approach focused on practical application that will help you grow as a professional from the very first moment. 

A comprehensive syllabus focused on acquiring knowledge and converting it into real skills, created to propel you to excellence"

Module 1. Fiction Production and Acting Direction  

1.1. The Making of Fiction 

1.1.1. Concept of Management
1.1.2. The director and the management team
1.1.3. The production-direction process in digital cinema
1.1.4. Materials for the organization of production

1.2. The painting as a compositional unit 

1.2.1. Framing: from photography to painting and cinema 
1.2.2. Registration of the image: framing and composition
1.2.3. Formats, aspect ratio and their impact on composition
1.2.4. Expressive function of the optics 

1.3. Staging 

1.3.1. What is Staging: Origins
1.3.2. Theatrical staging vs. Audiovisual staging. André Antonine and naturalism. The "fourth wall". The creation of the cinematographic space. The fragmentation of the montage. The keys to lighting: Appiá and Fortuny 
1.3.3. Concept and Application of the staging
1.3.4. Staging tools: sketches, set plan, story-board, production floor and technical script 

1.4. Plane and Planning 

1.4.1. The plane as a significant unit and its characterization: size, height and angle 
1.4.2. The formulation of the filmic space: field, backfield, axes and raccord 
1.4.3. Sequence Planning
1.4.4. Plane/Reverse shot: theory and practice 
1.4.5. Narrative functions of the plane 
1.4.6. Cinematography: lenses, lighting and depth of field 

1.5. Planning styles 

1.5.1. The style of continuity 
1.5.2. Derivations of the continuity style 
1.5.3. Breaks and alternatives: other planning styles 

1.6. Movement as an expressive factor. Space Distribution 

1.6.1. Static frame and internal movement
1.6.2. The dynamic frame: the external movements 
1.6.3. The sequence plane as "choreography" of the action 
1.6.4. Film space construction
1.6.5. The Formulation of the Spaces and the Point of View
1.6.6. The other spaces: sound space, off-field and empty field 

1.7. Time articulation The montage: theories and models 

1.7.1. Film Time construction 
1.7.2. Linear time, ellipsis and condensation
1.7.3. Complex temporal structures 
1.7.4. Concept and theories of  the montage
1.7.5. Articulation models: from assembly of the attractions to analytical montage 
1.7.6. Breakdowns of modernity: fractures of continuous montage 

1.8. The sound and the soundtrack 

1.8.1. Elements of the soundtrack
1.8.2. The sound/image relations 
1.8.3. The sound montage
1.8.4. Spatial representation of sound: mixing in a room 
1.8.5. Multi-channel sound systems in the room: Dolby digital, Dolby Atmos, SDDS, DTS

1.9. Direction of Actors I 

1.9.1. The spectator of the theatre and the spectator of the audiovisual: presence vs. Absence 
1.9.2. The Stanislavski System. The symbolist theater. Moscow Art Theatre. Emotional memory and real feeling: stage emotion
1.9.3. The Actor’s Studio method. From emotional memory to sensitive memory
1.9.4. The creation of the character: the interpretation of the character and the relationship with the staging 

1.10. Direction of Actors II 

1.10.1. Working with Actors. Know the actor’s work. Enhance the actor’s work. Channel the actor’s energy. The Listening. The Conflict The Desire Why and What For? The activity. The reasons. Strategy. The urgency 
1.10.2. Scene Setting Table work and text analysis. The Trial
1.10.3. The performance on Cinema. The expressive value of the plane. The fragmented interpretation
1.10.4. The performance on television. The hyper fragmented discourse. Fiction formats and interpretation requirements
1.10.5. Artistic Direction The Scenography and the Direction of Actors Key questions: where, how and when

Study at your own pace, with the flexibility of a program that combines learning with other occupations in a comfortable and real way"