Know the working environment of the production team: technological means, technical routines and human resources" 

Why Study at TECH?

TECH is the world's largest 100% online business school. It is an elite business school, with a model based on the highest academic standards. A world-class centre for intensive managerial skills training.   

TECH is a university at the forefront of technology, and puts all its resources at the student's disposal to help them achieve entrepreneurial success"

At TECH Global University

Innovation

The university offers an online learning model that combines the latest educational technology with the most rigorous teaching methods. A unique method with the highest international recognition that will provide students with the keys to develop in a rapidly-evolving world, where innovation must be every entrepreneur’s focus.

"Microsoft Europe Success Story", for integrating the innovative, interactive multi-video system.  

The Highest Standards

Admissions criteria at TECH are not economic. Students don't need to make a large investment to study at this university. However, in order to obtain a qualification from TECH, the student's intelligence and ability will be tested to their limits. The institution's academic standards are exceptionally high...  

95% of TECH students successfully complete their studies.

Networking

Professionals from countries all over the world attend TECH, allowing students to establish a large network of contacts that may prove useful to them in the future.  

100,000+ executives trained each year, 200+ different nationalities.

Empowerment

Students will grow hand in hand with the best companies and highly regarded and influential professionals. TECH has developed strategic partnerships and a valuable network of contacts with major economic players in 7 continents.  

500+ collaborative agreements with leading companies.

Talent

This program is a unique initiative to allow students to showcase their talent in the business world. An opportunity that will allow them to voice their concerns and share their business vision. 

After completing this program, TECH helps students show the world their talent. 

Multicultural Context

While studying at TECH, students will enjoy a unique experience. Study in a multicultural context. In a program with a global vision, through which students can learn about the operating methods in different parts of the world, and gather the latest information that best adapts to their business idea. 

TECH students represent more than 200 different nationalities.   

Learn with the best

In the classroom, TECH teaching staff discuss how they have achieved success in their companies, working in a real, lively, and dynamic context. Teachers who are fully committed to offering a quality specialization that will allow students to advance in their career and stand out in the business world. 

Teachers representing 20 different nationalities. 

TECH strives for excellence and, to this end, boasts a series of characteristics that make this university unique:   

Analysis

TECH explores the student’s critical side, their ability to question things, their problem-solving skills, as well as their interpersonal skills.  

Academic Excellence

TECH offers students the best online learning methodology. The university combines the Relearning method (a postgraduate learning methodology with the highest international rating) with the Case Study. A complex balance between tradition and state-of-the-art, within the context of the most demanding academic itinerary.  

TECH is the world’s largest online university. It currently boasts a portfolio of more than 10,000 university postgraduate programs. And in today's new economy, volume + technology = a ground-breaking price. This way, TECH ensures that studying is not as expensive for students as it would be at another university.  

At TECH, you will have access to the most rigorous and up-to-date case studies in the academic community”

The management of an audiovisual company requires a profile of excellence. For that reason, TECH has developed a program that focuses on ensuring compliance with the labor requirements that today's world demands. Through a 100% online modality, the professional will have the opportunity to identify the differences between the different ways of approaching the study of audiovisual reception and the current state of the art. In this way, you will be able to take 12 months of learning in a unique and stimulating way, following practical examples and the guidance of a specialist faculty in this area. 

Interpret, analyze and comment on a television format from a professional, aesthetic and cultural perspective" 

Syllabus

The various changes that have developed in the audiovisual industry have been enhanced by different factors, such as the industrial revolution, social changes and, of course, the advance of technology. Therefore, it has essential to have professionals who have a thorough understanding of a range of knowledge in these different areas.  

The MBA in Audiovisual Business Management program ensures that students fully understand the tools they need to organize and manage the processes of the different departments using the in an audiovisual production. For this reason, the syllabus will begin with a review of the concepts of industry and culture, as well as the technique focused on the realization of projects from a theoretical and practical point of view. 

In this way, everything you will learn will be converted into real working skills that will allow you to boost your capacity intensively. In this way, the future graduate will understand the structure of the audiovisual system and the way in which the production of this type of content contemplates its financing and its investment valuation in terms of costs and benefits. 

Throughout 2,700 hours of learning, the student will analyze a multitude of case studies through individual and team work. Thus, they will be able to know the bases that determine the direction of actors in fiction and the creation of narrative discourse.

Students will also be motivated to learn in depth about the new genres and formats that are being used in TV. Know how to make use of information through social networks and develop a communication plan. In this way, a program focused on the current demands of this sector is created that will prepare graduates to face the challenges of managing a department in this field. 

This Professional master’s degree takes place over 12 months and is divided into 15 modules: 

Module 1. Cultural Journalism
Module 2. Theory and Techniques for Performance
Module 3. Structure of the Audiovisual System
Module 4. Audiovisual Production
Module 5. Fiction Production and Acting Direction
Module 6. Cultural Industries and New Communication Business Models
Module 7. Management and Promotion of Audiovisual Products
Module 8. Television Genres, Formats and Programming 
Module 9. The Audiovisual Audience
Module 10. Television Scriptwriting: Programs and Fiction
Module 11. Leadership, Ethics and Social Responsibility in Companies
Module 12. People and Talent Management
Module 13. Economic and Financial Management 
Module 14. Commercial Management and Strategic Marketing 
Module 15. Executive Management

Where, When and How is it Taught?

TECH offers the possibility of developing this MBA in Audiovisual Business Management completely online. Throughout the 12 months of the educational program, you will be able to access all the contents of this program at any time, allowing you to self-manage your study time. 

Module 1. Cultural Journalism  

1.1. Cultural Journalism in the Conventional Media and Its integration in the Digital World 
1.2. The Art of Storytelling
1.3. Essential Guides to Cultural Journalism Documentation 
1.4. The 3.0 Philosophy of Communication 
1.5. Media and Social Media Management 
1.6. Interactive Journalistic Content
1.7. Communication Disorders 
1.8. Web Positioning: SEO, SEM, SMO, SMM and SERM. Specialized Journalistic Contents 

Module 2. Theory and Techniques for Performance

2.1. Realization as Construction of the Audiovisual Work. Work Teams

2.1.1. From the Literary to Technical Scripts Scale
2.1.2. The Work Team

2.2. The Elements of the Screen Layout. Construction Materials

2.2.1. Spatial Preadaptation. Art Direction
2.2.2. The Elements of the Screen Layout

2.3. Pre-production. Implementation Documents

2.3.1. Technical Script
2.3.2. The Scenographic Plan
2.3.3. Storyboard
2.3.4. Planning
2.3.5. The Shooting Schedule

2.4. The Expressive Value of Sound

2.4.1. Typology of Sound Elements
2.4.2. Construction of Sound Space

2.5. The Expressive Value of Light

2.5.1. Expressive Value of Light
2.5.2. Basic Lighting Techniques

2.6. Basic Single-Camera Shooting Techniques

2.6.1. Uses and Techniques of Single-Camera Shooting
2.6.2. The Found Footage Subgenre. Fiction and Documentary Films
2.6.3. Single-Camera Production in Television

2.7. The Editing

2.7.1. Editing as an Assemblage. Space-Time Reconstruction
2.7.2. Non-Linear Assembly Techniques

2.8. Post-production and Color Grading

2.8.1. Post-Production
2.8.2. Vertical Mounting Concept
2.8.3. Color Correction

2.9. Formats and Production Team

2.9.1. Multi-camera Formats
2.9.2. The Studio and the Team

2.10. Keys, Techniques and Routines in Multi-Camera Production

2.10.1. Multi-camera Techniques
2.10.2. Some Common Formats

Module 3. Structure of the Audiovisual System

3.1. An Introduction to Cultural Industries (C.I.)

3.1.1. Concepts of Culture. Culture-Communication
3.1.2. C.I. Theory and Evolution: Typology and Models

3.2. Film Industry

3.2.1. Main Characteristics and Agents
3.2.2. Structure of the Cinematographic System

3.3. Film Industry

3.3.1. The U.S. Film Industry
3.3.2. Independent Production Companies
3.3.3. Problems and Debates in the Film Industry

3.4. Film Industry

3.4.1. Film Regulation: State and Culture. Policies for the Protection and Promotion of Cinematography
3.4.2. Case Study

3.5. Television Industry I

3.5.1. Economic Television
3.5.2. Founder Models
3.5.3. Transformations

3.6. Television Industry II

3.6.1. The U.S. Television Industry
3.6.2. Main Features
3.6.3. State Regulation

3.7. Television Industry III

3.7.1. Public Service Television in Europe
3.7.2. Crises and Debates

3.8. The Axes of Change

3.8.1. New Processes in the Audiovisual Industry
3.8.2. Regulatory Discussion

3.9. Digital Terrestrial Television (DTT)

3.9.1. Role of the State and Experiences
3.9.2. The New Features of the Television System

3.10. New Operators in the Audiovisual Landscape

3.10.1. Service Platforms Over-The-Top (OTT)
3.10.2. Consequences of its Appearance

Module 4. Audiovisual Production

4.1. Audiovisual Production 

4.1.1. Introductory Concepts 
4.1.2. The Audiovisual Industry 

4.2. The Production Team 

4.2.1. The Professionals 
4.2.2. The Producer and the Script 

4.3. The Audiovisual Project 

4.3.1. Project Management 
4.3.2. Project Evaluation 
4.3.3. Presentation of Projects

4.4. Production and Financing Modalities 

4.4.1. Financing of Audiovisual Production 
4.4.2. Modes of Audiovisual Production 
4.4.3. Resources for Pre-financing

4.5. The Production Team and the Script Breakdown 

4.5.1. The Production Team 
4.5.2. The Breakdown of the Script

4.6. The Shooting Areas 

4.6.1. The Locations 
4.6.2. The Scenery 

4.7. Casting and Film Contracts 

4.7.1. Casting 
4.7.2. Casting Test 
4.7.3. Contracts, Rights and Insurance BORRAR

4.8. The Work Plan and the Budget of the Audiovisual Work 

4.8.1. The Work Plan 
4.8.2. The Budget 

4.9. Production in Filming or Recording 

4.9.1. Preparation for Filming 
4.9.2. Filming Equipment and Means 

4.10. Post-production and the Final Balance of the Audiovisual Work 

4.10.1. Editing and Post-production 
4.10.2. Balance Sheet and Operations 

Module 5. Fiction Production and Acting Direction

5.1. The Production of Fiction 

5.1.1. Introduction 
5.1.2. The Process and its Tools  

5.2. Optics and Camera 

5.2.1. Optics and Framing 
5.2.2. Camera Movement 
5.2.3. Continuity 

5.3. Theoretical Aspects of Light and Color 

5.3.1. Exhibition 
5.3.2. Color Theory 

5.4. Lighting in the Cinema 

5.4.1. Tools 
5.4.2. Lighting as Narrative 

5.5. Color and Optics 

5.5.1. Color Control 
5.5.2. The Optics 
5.5.3. Image Control 

5.6. Work on the Shoot 

5.6.1. The List of Drawings 
5.6.2. The Team and its Functions 

5.7. Technical Issues in Film Directing 

5.7.1. Technical Resources 

5.8. The Vision of the Directors 

5.8.1. Directors Take the Floor

5.9. Digital Transformations  

5.9.1. Analog-Digital Transformations in Cinematographic Photography  
5.9.2. The Reign of Digital Postproduction

5.10. Direction of Actors 

5.10.1. Introduction 
5.10.2. Main Methods and Techniques 
5.10.3. Working with Actors 

Module 6. Cultural Industries and New Communication Business Models

6.1. The Concepts of Culture, Economy, Communication, Technology, IC 

6.1.1. Culture, Economy, Communication  
6.1.2. Cultural Industries 

6.2. Technology, Communication and Culture 

6.2.1. Craft Culture Commoditized 
6.2.2. From Live Performance to Visual Arts  
6.2.3. Museums and Heritage 

6.3. The Major Sectors of the Cultural Industries 

6.3.1. Editorial Products 
6.3.2. Flow C.I.s  
6.3.3. Hybrid Models 

6.4. The Digital Era in the Cultural Industries 

6.4.1. Digital Cultural Industries 
6.4.2. New Models in the Digital Era  

6.5. Digital Media and Media in the Digital Age  

6.5.1. The Online Newspaper Business 
6.5.2. Radio in the Digital Environment 
6.5.3. Particularities of the Media in the Digital Age 

6.6. Globalization and Diversity in Culture 

6.6.1. Concentration, Internationalization and Globalization of Cultural Industries  
6.6.2. The Struggle for Cultural Diversity 

6.7. Cultural and Cooperation Policies 

6.7.1. Cultural Policies  
6.7.2. The Role of States and Country Regions  

6.8. Musical Diversity in the Cloud 

6.8.1. The Music Industry Today 
6.8.2. Cloud 
6.8.3. Latin/ Latin American Initiatives 

6.9. Diversity in the Audiovisual Industry 

6.9.1. From Pluralism to Diversity 
6.9.2. Diversity, Culture and Communication 
6.9.3. Conclusions and Suggestions 

6.10. Audiovisual Diversity on the Internet 

6.10.1. The Audiovisual System in the Internet Era 
6.10.2. Television Offering and Diversity 
6.10.3. Conclusions 

Module 7. Management and Promotion of Audiovisual Products

7.1. Audiovisual Distribution  

7.1.1. Introduction 
7.1.2. Distribution Players 
7.1.3. Marketing Products 
7.1.4. The Audiovisual Distribution Sectors  
7.1.5. National Distribution BORRAR 
7.1.6. International Distribution 

7.2. The Distribution Company   

7.2.1. The Organizational Structure 
7.2.2. Negotiation of the Distribution Agreement 
7.2.3. International Customers 

7.3. Operating Windows, Contracts and International Sales  

7.3.1. Operating Windows 
7.3.2. International Distribution Contracts 
7.3.3. International Sales 

7.4. Film Marketing   

7.4.1. Cinema Marketing 
7.4.2. The Film Production Value Chain 
7.4.3. Advertising Media at the Service of Promotion 
7.4.4. Launching Tools 

7.5. Market Research in the Film Industry    

7.5.1. Introduction 
7.5.2. Pre-Production Phase 
7.5.3. Post-Production Phase 
7.5.4. Commercialization Phase 

7.6. Social Networks and Film Promotion  

7.6.1. Introduction 
7.6.2. Promises and Limits of Social Networking  
7.6.3. Objectives and their Measurement 
7.6.4. Promotion Calendar and Strategies  
7.6.5. Interpreting What the Networks Are Saying 

7.7. Audiovisual Distribution on the Internet I    

7.7.1. The New World of Audiovisual Distribution 
7.7.2. The Internet Distribution Process 
7.7.3. Products and Possibilities in the New Scenario 
7.7.4. New Distribution Modes 

7.8. Audiovisual Distribution on the Internet II    

7.8.1. Keys to the New Scenario 
7.8.2. The Dangers of Internet Distribution 
7.8.3. Video on Demand (VOD) as a New Window for Distribution 

7.9. New Distribution Spaces  

7.9.1. Introduction 
7.9.2. Netflix Revolution 

7.10. Film Festivals 

7.10.1. Introduction 
7.10.2. The Role of Film Festivals in Distribution and Exhibition 

Module 8. Television Genres, Formats and Programming

8.1. Gender in Television   

8.1.1. Introduction 
8.1.2. Television Genres 

8.2. The Television Format    

8.2.1. Approach to the Concept of Format 
8.2.2. Television Formats

8.3. Create Television     

8.3.1. The Creative Process in Entertainment 
8.3.2. The Creative Process in Fiction 

8.4. Evolution of Formats in Today's International Market I    

8.4.1. Consolidation of the Format 
8.4.2. The Reality TV Format 
8.4.3. News in Reality TV 
8.4.4. Digital Terrestrial Television and Financial Crisis 

8.5. Evolution of Formats in Today's International Market II    

8.5.1. Emerging Markets 
8.5.2. Global Brands 
8.5.3. Television Reinvents Itself 
8.5.4. The Era of Globalization 

8.6. Selling the Format. The Launch      

8.6.1. Sale of a Television Format 
8.6.2. The Launch 

8.7. Introduction to Television Programming   

8.7.1. The Role of Programming 
8.7.2. Factors Affecting Programming 

8.8. Television Programming Models  

8.8.1. United States and United Kingdom

8.9. The Professional Practice of Television Programs    

8.9.1. The Programming Department 
8.9.2. Programming for Television 

8.10. Audience Research   

8.10.1. Television Audience Research 
8.10.2. Audience Concepts and Ratings 

Module 9. The Audiovisual Audience 

9.1. Audiences in the Audiovisual Media

9.1.1. Introduction
9.1.2. The Constitution of the Audiences

9.2. Audience Research The Tradition I

9.2.1. Theory of Effects
9.2.2. Theory of Uses and Gratifications
9.2.3. Cultural Studies

9.3. Audience Research The Tradition II

9.3.1. Studies on Reception
9.3.2. Audiences for Humanistic Studies

9.4. Audiences from an Economic Perspective

9.4.1. Introduction
9.4.2. Audience Measurement

9.5. Theories of Reception

9.5.1. Introduction to Reception Theories
9.5.2. Historical Approach to Reception Studies

9.6. Audiences in the Digital World

9.6.1. Digital Environment
9.6.2. Communication and Convergence Culture
9.6.3. The Active Nature of the Audiences
9.6.4. Interactivity and Participation
9.6.5. The Transnationality of Audiences
9.6.6. Fragmented Audiences
9.9.7. Audience Autonomy

9.7. Audiences: The Essential Questions I

9.7.1. Introduction
9.7.2. Who They Are
9.7.3. Why Do They Consume

9.8. Audiences: Essential Questions II

9.8.1. What They Consume
9.8.2. How They Consume
9.8.3. With What Effects

9.9. The Engagement Model I

9.9.1. Engagement as a Meta-dimension of Audience Behavior
9.9.2. The Complex Assessment of Engagement

9.10. The Engagement Model II

9.10.1. Introduction. The Dimensions of Engagement
9.10.2. Engagement and User Experiences
9.10.3. Engagement as an Emotional Response from Audiences
9.10.4. Engagement as a Result of Human Cognition
9.10.5. The Observable Behaviors of Audiences as an Expression of Engagement

Module 10. Television Scriptwriting: Programs and Fiction

10.1. Television Fiction    

10.1.1. Concepts and Limits 
10.1.2. Codes and Structures 

10.2. Narrative Categories in Television  

10.2.1. The Enunciation 
10.2.2. Characters 
10.2.3. Actions and Transformations 
10.2.4. The Space 
10.2.5. Time 

10.3. Television Genres and Formats    

10.3.1. Narrative Units 
10.3.2. Television Genres and Formats 

10.4. Fiction Formats  

10.4.1. Television Fiction 
10.4.2. Situation Comedy 
10.4.3. Drama Series 
10.4.4. The Soap Opera 
10.4.5. Other Formats 

10.5. The Fiction Script in Television  

10.5.1. Introduction 
10.5.2. The Technique 

10.6. Drama on Television  

10.6.1. The Drama Series 
10.6.2. The Soap Opera 

10.7. Comedy Series  

10.7.1. Introduction 
10.7.2. The Sitcom 

10.8. The Entertainment Script  

10.8.1. The Script Step by Step 
10.8.2. Writing to Say 

10.9. Entertainment Script Writing 

10.9.1. Script Meeting 
10.9.2. Technical Script 
10.9.3. Production Breakdown 
10.9.4. The Play-List 

10.10. Entertainment Script Design  

10.10.1. Magazine 
10.10.2. Comedy Program 
10.10.3. Talent Show 
10.10.4. Documentary 
10.10.5. Other Formats

Module 11. Leadership, Ethics and Social Responsibility in Companies 

11.1. Globalization and Governance 

11.1.1. Governance and Corporate Governance 
11.1.2. The Fundamentals of Corporate Governance in Companies 
11.1.3. The Role of the Board of Directors in the Corporate Governance Framework 

11.2. Leadership  

11.2.1. Leadership. A Conceptual Approach 
11.2.2. Leadership in Companies 
11.2.3. The Importance of Leaders in Business Management 

11.3. Cross-Cultural Management 

11.3.1. Concept of Cross-Cultural Management    
11.3.2. Contributions to the Knowledge of National Cultures  
11.3.3. Diversity Management 

11.4. Management and Leadership Development 

11.4.1. Concept of Management Development 
11.4.2. Concept of Leadership 
11.4.3. Leadership Theories 
11.4.4. Leadership Styles 
11.4.5. Intelligence in Leadership 
11.4.6. The Challenges of Today's Leader 

11.5. Business Ethics 

11.5.1. Ethics and Morality 
11.5.2. Business Ethics 
11.5.3. Leadership and Ethics in Companies 

11.6. Sustainability  

11.6.1. Sustainability and Sustainable Development  
11.6.2. The 2030 Agenda 
11.6.3. Sustainable Companies 

11.7. Corporate Social Responsibility 

11.7.1. International Dimensions of Corporate Social Responsibility 
11.7.2. Implementing Corporate Social Responsibility 
11.7.3. The Impact and Measurement of Corporate Social Responsibility  

11.8. Responsible Management Systems and Tools 

11.8.1. CSR: Corporate Social Responsibility 
11.8.2. Essential Aspects for Implementing a Responsible Management Strategy  
11.8.3. Steps for the Implementation of a Corporate Social Responsibility Management System 
11.8.4. Tools and Standards of CSR 

11.9. Multinationals and Human Rights 

11.9.1. Globalization, Multinational Corporations and Human Rights 
11.9.2. Multinational Corporations and International Law  
11.9.3. Legal Instruments for Multinationals in the Field of Human Rights  

11.10. Legal Environment and Corporate Governance 

11.10.1. International Rules on Importation and Exportation 
11.10.2. Intellectual and Industrial Property 
11.10.3. International Labor Law

Module 12. People and Talent Management 

12.1. Strategic People Management 

12.1.1. Strategic Human Resources Management 
12.1.2. Strategic People Management 

12.2. Human Resources Management by Competencies 

12.2.1. Analysis of the Potential 
12.2.2. Remuneration Policy 
12.2.3. Career/Succession Planning 

12.3. Performance Evaluation and Compliance Management 

12.3.1. Performance Management 
12.3.2. Performance Management: Objectives and Process 

12.4. Innovation in Talent and People Management 

12.4.1. Strategic Talent Management Models 
12.4.2.  Identification, Training and Development of Talent
12.4.3. Loyalty and Retention  
12.4.4. Proactivity and Innovation 

12.5. Motivation 

12.5.1. The Nature of Motivation  
12.5.2. Expectations Theory 
12.5.3. Needs Theory 
12.5.4. Motivation and Financial Compensation 

12.6. Developing High Performance Teams 

12.6.1. High-Performance Teams: Self-Managing Teams 
12.6.2. Methodologies for Managing High Performance Self-Managed Teams 

12.7. Change Management 

12.7.1. Change Management 
12.7.2. Types of Change Management Processes 
12.7.3. Stages or Phases in Change Management

12.8. Negotiation and Conflict Management 

12.8.1. Negotiation  
12.8.2. Conflict Management  
12.8.3. Crisis Management 

12.9. Executive Communication 

12.9.1. Internal and External Communication in the Business Environment  
12.9.2. Communication Departments  
12.9.3. The Head of Communication of the Company. The Profile of the Dircom 

12.10. Productivity, Attraction, Retention and Activation of Talent 

12.10.1. Productivity  
12.10.2. Talent Attraction and Retention Levers

Module 13. Economic and Financial Management 

13.1. Economic Environment  

13.1.1. Macroeconomic Environment and the National Financial System 
13.1.2. Financial Institutions 
13.1.3. Financial Markets 
13.1.4. Financial Assets 
13.1.5. Other Financial Sector Entities  

13.2. Executive Accounting 

13.2.1. Basic Concepts  
13.2.2. The Company's Assets  
13.2.3. The Company's Liabilities  
13.2.4. The Company's Net Worth  
13.2.5. The Income Statement  

13.3. Information Systems and Business Intelligence 

13.3.1. Fundamentals and Classification 
13.3.2. Cost Allocation Phases and Methods 
13.3.3. Choice of Cost Center and Impact

13.4. Budget and Management Control 

13.4.1. The Budgetary Model  
13.4.2. The Capital Budget 
13.4.3. The Operating Budget  
13.4.5. The Cash Budget  
13.4.6. Budget Monitoring  

13.5. Financial Management

13.5.1. The Company's Financial Decisions  
13.5.2. The Financial Department  
13.5.3. Cash Surpluses  
13.5.4. Risks Associated with Financial Management  
13.5.5. Risk Management of the Financial Management

13.6. Financial Planning

13.6.1. Definition of Financial Planning 
13.6.2. Actions to Be Taken in Financial Planning  
13.6.3. Creation and Establishment of the Business Strategy  
13.6.4. The Cash Flow Chart 
13.6.5. The Working Capital Chart 

13.7. Corporate Financial Strategy 

13.7.1. Corporate Strategy and Sources of Financing  
13.7.2. Corporate Financing Financial Products   

13.8. Strategic Financing

13.8.1. Self-financing  
13.8.2. Increase in Shareholder's Equity  
13.8.3. Hybrid Resources  
13.8.4. Financing through Intermediaries 

13.9. Financial Analysis and Planning 

13.9.1.  Analysis of the Balance Sheet 
13.9.2. Analysis of the Income Statement 
13.9.3. Profitability Analysis

13.10. Analysis and Resolution of Cases/Problems 

13.10.1. Financial Information on Industria de Diseño y Textil, S.A. (INDITEX)

Module 14. Commercial Management and Strategic Marketing 

14.1. Commercial Management

14.1.1. Conceptual Framework of Commercial Management
14.1.2. Commercial Strategy and Planning
14.1.3. The Role of Sales Managers

14.2. Marketing

14.2.1. The Concept of Marketing
14.2.2. The Basic Elements of Marketing
14.2.3. Marketing Activities in Companies

14.3. Strategic Marketing Management

14.3.1. The Concept of Strategic Marketing
14.3.2. Concept of Strategic Marketing Planning
14.3.3. Stages in the Process of Strategic Marketing Planning

14.4. Digital Marketing and e-Commerce

14.4.1. Objectives of Digital Marketing and e-Commerce
14.4.2. Digital Marketing and the Media It Uses
14.4.3. E-Commerce. General Context
14.4.4. Categories of e-Commerce
14.4.5. Advantages and Disadvantages of e-Commerce Compared to Traditional Commerce

14.5. Digital Marketing to Reinforce a Brand

14.5.1. Online Strategies to Improve Brand Reputation
14.5.2. Branded Content and Storytelling

14.6. Digital Marketing to Attract and Retain Customers

14.6.1. Loyalty and Engagement Strategies Using the Internet
14.6.2. Visitor Relationship Management
14.6.3. Hypersegmentation

14.7. Digital Campaign Management

14.7.1. What Is a Digital Advertising Campaign?
14.7.2. Steps to Launch an Online Marketing Campaign
14.7.3. Mistakes in Digital Advertising Campaigns

14.8. Sales Strategy

14.8.1.  Sales Strategy
14.8.2. Sales Methods

14.9. Corporate Communication

14.9.1. Concept
14.9.2. The Importance of Communication in the Organization
14.9.3. Type of Communication in the Organization
14.9.4. The Functions of Communication in the Organization
14.9.5. Elements of Communication
14.9.6. Problems of Communication
14.9.7. Communication Scenarios

14.10. Digital Communication and Reputation

14.10.1. Online Reputation
14.10.2. How to Measure Digital Reputation?
14.10.3. Online Reputation Tools
14.10.4. Online Reputation Report
14.10.5. Online Branding

Module 15. Executive Management 

15.1. General Management

15.1.1. The Concept of General Management
15.1.2. The Role of the CEO
15.1.3. The CEO and their Responsibilities
15.1.4. Transforming the Work of Management

15.2. Manager Functions: Organizational Culture and Approaches

15.2.1. Manager Functions: Organizational Culture and Approaches

15.3. Operations Management

15.3.1.  The Importance of Management
15.3.2. Value Chain
15.3.3. Quality Management

15.4. Public Speaking and Spokesperson Education

15.4.1. Interpersonal Communication
15.4.2. Communication Skills and Influence
15.4.3. Communication Barriers

15.5. Personal and Organizational Communication Tools

15.5.1. Interpersonal Communication
15.5.2. Interpersonal Communication Tools
15.5.3. Communication in the Organization
15.5.4. Tools in the Organization

15.6. Communication in Crisis Situations

15.6.1. Crisis
15.6.2. Phases of the Crisis
15.6.3. Messages: Contents and Moments

15.7. Preparation of a Crisis Plan

15.7.1. Analysis of Possible Problems
15.7.2. Planning
15.7.3. Adequacy of Personnel

15.8. Emotional Intelligence

15.8.1. Emotional Intelligence and Communication
15.8.2. Assertiveness, Empathy, and Active Listening
15.8.3. Self- Esteem and Emotional Communication

15.9. Personal Branding

15.9.1. Strategies for Personal Brand Development
15.9.2. Personal Branding Laws
15.9.3. Tools for Creating Personal Brands

15.10. Leadership and Team Management

15.10.1. Leadership and Leadership Styles
15.10.2. Leadership Skills and Challenges
15.10.3. Managing Change Processes
15.10.4. Managing Multicultural Teams

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