Master's in Film, Media and Sea Culture
This master's explores the meeting point between audiovisual storytelling and the maritime world. You will study the history of maritime cinema and the cultural representations of the ocean, the blue humanities, the visual language and aesthetics of the sea, production and filming in aquatic environments, underwater cinematography, science and conservation documentaries, immersive media, audiovisual archives and maritime heritage, the film industry, and the writing, development and financing of maritime projects.
Prior knowledge check
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What is the Master's in Film, Media and Sea Culture?
This master's explores the meeting point between audiovisual storytelling and the maritime world. You will learn to analyze how cinema and media have represented the sea, from the Lumière brothers and Cousteau to contemporary series, apply the blue humanities and ecocriticism, design the image and sound of maritime stories, plan shoots at sea, in tanks and underwater, develop science and conservation documentaries, work with VR, 360-degree video and game engines, preserve and reuse maritime film archives, and write, finance and pitch your own fiction or documentary projects, preparing you for careers in audiovisual production, cultural management, criticism, research and science communication.
What sets this master's apart: it combines film theory, cultural studies and marine sciences rather than focusing on technique alone; it covers fiction as well as documentary, criticism as well as production; it addresses the practical challenges of filming at sea, from boats as camera platforms to safety, insurance and environmental impact; it opens the field to new media, interactive museography and archives; it explains how the maritime film industry works, from festivals and markets to co-production and green shooting; and it ends with a Final Project that can be an audiovisual work, a screenplay or a cultural research project.
Program highlights
- Film history and culture: the representation of the sea from silent cinema to streaming series.
- Blue humanities: ecocriticism, maritime literature, anthropology and the philosophy of the ocean.
- Filming at sea: boats as camera platforms, water tanks, drones, safety and environmental impact.
- Documentary and new media: science and conservation films, VR, 360-degree video and game engines.
- Industry and development: screenwriting, financing, co-production, festivals and markets.
- Final Project: an audiovisual work, a screenplay or a maritime cultural research project.
Syllabus of the Master's in Film, Media and Sea Culture
11 modules. Select a module to see its content.
History of Maritime Cinema and Representations of the Ocean
- 1.1. The first moving images of the coast and sea in the silent films of the Lumière brothers and Georges Méliès
- 1.2. The sea as a space of adventure and myth: pirate, shipwreck and exploration films
- 1.3. Maritime literary adaptations in classic cinema: Melville, Verne, Stevenson and Conrad
- 1.4. Ocean exploration documentaries: from Jacques Cousteau and Jean Painlevé to Blue Planet
- 1.5. Avant-garde and experimental film about water: rhythm, texture and abstraction
- 1.6. Deep-sea life and sea creatures on screen: from coastal horror to ocean science fiction
- 1.7. Submarine and naval war films: claustrophobia, acoustics and dramatic tension
- 1.8. The sea in Asian, Latin American and Global South cinema: worldviews, myths and coastal identity
- 1.9. Surf, extreme water sports and beach subcultures on screen
- 1.10. Comparative historiography: the ocean as frontier, resource or refuge
Maritime Humanities and the Cultural Ecology of Water
- 2.1. Introduction to the blue humanities and the oceanic turn in cultural theory
- 2.2. Marine anthropology: fishing cosmologies, local knowledge and human interaction with the coast
- 2.3. Literatures of the sea: navigation imaginaries, logbooks, ocean poetry and island narratives
- 2.4. Maritime ecocriticism: narratives of ecological collapse, acidification and marine plastic
- 2.5. Philosophy of water and the abyss: vastness, the marine sublime and liquid thought
- 2.6. Ocean geopolitics in visual culture: trade routes, maritime empires and colonial maps
- 2.7. Coastal food sovereignty, fishing communities and industrial extraction in cultural representation
- 2.8. Intangible cultural heritage of the sea: work songs, legends and oral memory
- 2.9. Gender perspectives in maritime culture: from the siren to the historical role of women on the coast
- 2.10. Marine museology, aquariums and the public display of aquatic life today
Audiovisual Language, Aesthetics and Maritime Narrative
- 3.1. Water as symbol and metaphor in editing theory and framing
- 3.2. Ocean sound design: underwater Foley, coastal soundscapes and aquatic acoustics
- 3.3. Marine cinematography: light underwater, refraction, color filtering and visibility
- 3.4. Art direction and production design for the open sea, ports and vessels
- 3.5. Narrative structures of voyage and drift: the hero's journey in isolated ocean settings
- 3.6. The aesthetics of isolation: dramatic space on islands and ships
- 3.7. Visual effects and digital fluid simulation: CGI waves, storms and creatures
- 3.8. Music in maritime film: orchestration, nautical leitmotifs and underwater ambient music
- 3.9. The aesthetics of maritime disaster: tsunamis, hurricanes and sinkings on screen
- 3.10. Non-human perspectives in film: giving voice to the ocean, whales and marine ecosystems
Film Production and Shooting in Aquatic Environments
- 4.1. Planning and logistics for shoots at sea and on the coast
- 4.2. Choosing and adapting vessels as camera platforms and floating sets
- 4.3. Water tanks and wave pools for film production
- 4.4. Choosing and maintaining cameras, waterproof housings and marine lenses
- 4.5. Drone operation and aerial cinematography over large ocean surfaces
- 4.6. Health, safety and rescue protocols on water and underwater shoots
- 4.7. Specialist production insurance, weather contingencies and navigation permits
- 4.8. Environmental impact of productions in fragile ecosystems
- 4.9. Directing actors and stunt performers in diving, swimming and shipwreck scenes
- 4.10. Budgeting for maritime contingencies and risk management in complex productions
Underwater Photography and Cinema
- 5.1. History of underwater cinematography: from Louis Boutan and Hans Hass to digital
- 5.2. Physics of light underwater: absorption, scattering, contrast and white balance
- 5.3. Diving techniques for filmmaking: scuba, rebreathers and freediving
- 5.4. Professional underwater lighting: continuous lights, strobes and arm configurations
- 5.5. Framing, stability and camera movement underwater with diver propulsion vehicles
- 5.6. Underwater macro cinematography: microfauna, corals and behavior
- 5.7. Filming large pelagic animals: sharks, whales and mantas with an ethical approach
- 5.8. Filming in extreme conditions: sea caves, under ice and turbid water
- 5.9. Color grading to restore colors lost with depth
- 5.10. Visual narratives for diving and marine research documentaries
Science Documentary, Conservation and Environmental Media
- 6.1. The marine documentary as a tool for science communication and environmental awareness
- 6.2. Making oceanography and marine biology accessible to audiences
- 6.3. Co-production between filmmakers, oceanographic expeditions and scientific institutions
- 6.4. Climate change narratives: ocean acidification, polar melting and coral bleaching
- 6.5. Investigative films on plastic pollution, illegal fishing and biodiversity loss
- 6.6. Filming in marine protected areas and minimal-intervention ethics
- 6.7. Using scientific archive footage and animated maps in environmental documentaries
- 6.8. Impact campaigns for the release of ocean documentaries
- 6.9. Multimedia environmental journalism on maritime borders and affected communities
- 6.10. Funding green documentary projects through grants, NGOs and international funds
New Media, Virtual Reality and Immersive Technologies
- 7.1. Virtual and augmented reality to simulate underwater experiences
- 7.2. Underwater 360-degree video for immersive installations and interactive experiences
- 7.3. Maritime video games: exploration, naval simulation and survival mechanics
- 7.4. Interactive museography and digital exhibitions on ocean heritage
- 7.5. Real-time rendering of marine environments with game engines such as Unreal Engine and Unity
- 7.6. Live streaming from the seabed with ROVs
- 7.7. Nautical content for digital platforms, social networks and outreach communities
- 7.8. Video art installations and multimedia performances inspired by water
- 7.9. Volumetric capture and 3D photogrammetry of wrecks and coral reefs
- 7.10. Artificial intelligence for simulating marine ecosystems and generating images
Archives, Audiovisual Memory and Maritime Heritage
- 8.1. History of nautical film archives and expedition collections
- 8.2. Preserving and restoring old nitrate and acetate footage of the sea
- 8.3. Digitizing and cataloging visual logs, nautical charts and port photo archives
- 8.4. Home movies in coastal settings: collective memory and local identity
- 8.5. Underwater audiovisual heritage: documenting archaeological sites and nautical archaeology
- 8.6. Curating and programming mountain, adventure and ocean film festivals
- 8.7. Using found footage to create maritime visual essays
- 8.8. Legal aspects and copyright in the use of historical maritime collections
- 8.9. Open digital repositories and multimedia databases for ocean research
- 8.10. Preserving born-digital content on marine culture
The Maritime Audiovisual Industry, Festivals and Markets
- 9.1. Structure of the nautical film industry: specialized production companies and distribution
- 9.2. The international circuit of maritime, nature and water sports film festivals
- 9.3. Pitching and selling maritime projects at international markets such as MIPCOM and Sunny Side of the Doc
- 9.4. International co-production strategies for major ocean documentary series
- 9.5. Tax incentives and film commissions in coastal and island regions
- 9.6. Streaming platforms and demand for nature, science and ocean exploration content
- 9.7. Marketing and communication for coastal-themed audiovisual projects
- 9.8. Corporate sponsorship and patronage of film and science expeditions
- 9.9. Educational distribution in aquariums, museums and schools
- 9.10. Sustainability in the film industry: green shooting protocols on the coast
Screenwriting, Development and Financing of Maritime Audiovisual Projects
- 10.1. Developing ideas and treatments
- 10.2. Writing maritime fiction screenplays
- 10.3. Documentary scriptwriting
- 10.4. Production package
- 10.5. Public funding and grants
- 10.6. International co-production
- 10.7. Platforms and distribution windows
- 10.8. Copyright
- 10.9. Film marketing
- 10.10. Project pitch
Final Project
- 11.1. Defining the final proposal: audiovisual work, screenplay or theoretical research
- 11.2. Preliminary research, fieldwork or historical nautical archive work
- 11.3. Full production package or theoretical and methodological framework
- 11.4. Shooting plan for aquatic or coastal settings or research schedule
- 11.5. Technical execution of the underwater or land shoot or drafting of the research
- 11.6. Editing and sound design of the audiovisual piece or theoretical review
- 11.7. Color correction and post-production specialized in marine tones
- 11.8. Festival distribution plan or academic publication plan
- 11.9. Report justifying the creative or research process
- 11.10. Public presentation, screening of the project or defense before an assessment panel
Duration and format of the Master's in Film, Media and Sea Culture
It is 1,500 hours. Tell us how many you can study each week and we will tell you when you will really finish.
This is the pace at which most students finish. It fits well with the installment plan.
Academic leadership and faculty
The Navalis teaching team: working professionals who teach and supervise the programs.
Dr. Marina AlcoverAcademic Director and Head of Quality Assurance
Eng. Diego CifuentesSenior Lecturer in Naval Welding and Non-Destructive Testing; Head of QA/QC for Welded Joints
Capt. Javier Abaroa (MCA)Senior Lecturer in Ship Handling, Electronic Navigation (ECDIS/Radar/ARPA) and GMDSS; STCW Compliance and Bridge Resource Management Coordinator
Dr. Pau FerrerSenior Lecturer in Naval Architecture and Simulation; Director of the Hydrodynamics and CFD Laboratory
Dr. Nuria LlobregatSenior Lecturer in Marine Meteorology, SAR and Operational Safety; Navigation Risk Management Coordinator
Eng. Javier BañulsSenior Lecturer in Electrical Engineering, Automation and ETO Engineering; Electronic Integration and Engine Alarms Coordinator
Eng. Sofía MarquinaSenior Lecturer in Materials, Composites and Corrosion Protection; Coordinator of the Advanced Paints and Coatings Line
Eng. Tomás RieraSenior Lecturer in Propulsion, Alternative Energy and Hybrid Systems; Energy Performance and Vibration CoordinatorObjectives of the Master's in Film, Media and Sea Culture
Career opportunities after the Master's in Film, Media and Sea Culture
Questions about the Master's in Film, Media and Sea Culture
The study and creation of film, media and culture related to the sea, combining critical analysis with audiovisual production.
Both. It includes film history, cultural studies and criticism, as well as screenwriting, production, cinematography, editing and distribution.
No. Underwater filming is covered as one module; most of the program deals with storytelling, culture, production on land and at sea, new media and the industry.
Yes. You study maritime fiction from adventure films to science fiction, and you can write a fiction screenplay or develop a documentary project.
Yes. The program covers development, production packages, public funding and grants, co-production, platforms, festivals, markets and film marketing.
You choose between an audiovisual work, a screenplay with its production package and a theoretical research project on maritime culture, and you present it publicly.
The master's is taught entirely online, with a virtual campus available 24/7, recorded live sessions and tutorials. It comprises 1500 hours of study across 11 modules of about 136 hours each, and you progress at your own pace within the schedule you are given on enrollment.
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Admission process
No waiting for a call back. If your documents are in order, you can enroll in the same session.
- Profile: aimed at graduates in audiovisual communication, journalism, humanities and fine arts seeking to specialize in maritime storytelling, film, television and new media professionals who want to work on ocean themes and impact documentaries, cultural managers, researchers and educators interested in maritime heritage, producers and filmmakers developing projects with social and environmental content related to the ocean, and digital content creators and visual artists. A degree in audiovisual communication, art history, social sciences, humanities or a related field, or proven professional experience in the film, audiovisual or cultural sector, is recommended.
- Language: sufficient command of English to follow the classes and the technical documentation.
- Technical resources: a computer with a stable internet connection, a webcam and microphone; basic video editing software is recommended for the practical assignments.
- Admission: online application, review of your profile and a short interview with the academic team.
- 01ApplicationYour details, background and documents.
- 02Instant reviewWe check that everything is complete and in order.
- 03EnrollmentChoose full payment or instalments and reserve your place.
Admission is provisional until the committee validates the documents provided. If you do not meet the requirements, the full amount is refunded.
Ask us before you enroll
Leave your details and admissions will write to you to answer any questions. If you are already sure, you can apply and pay in the same session.