Give your audiovisual products the required quality to captivate any audience"

Creating for television is a process that has its own mechanisms and processes. The complexity of the creative, technical and financial elements to be handled makes this work similar to that of a juggler keeping several pieces in the air at the same time, without allowing any of them to fall to the ground. 

The professional in this area will find in this Postgraduate Certificate the answers to the problems and difficulties that may arise. This course will allow you to learn all the characteristics that the creation of a television product must have.  

All the aspects that the audiovisual professional should know about the Creation in Television "

This Postgraduate certificate in ##TITULO## 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 practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• 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
• Complementary documentation banks permanently available, even after the course

Theory alone is insufficient: We provide you with the most practical and competent expertise”

Our teaching staff is made up of working professionals. This way, we ensure that we provide you with up-to-date knowledge, which is what we are aiming for. A multidisciplinary team of qualified and experienced teachers in different environments, who will impart the theoretical knowledge in an efficient way, but, above all, will put at the service of the program the practical knowledge derived from their own experience: one of the differential qualities of this renovation.

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 telepractice:  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.      

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

Everything you need to know about Creation in Television in a Postgraduate certificate of high interest for the professional in this field"

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. Television Genres, Formats and Programming 

1.1. Television Genre

1.1.1. Television Genres: an Introduction to the Systems and Processes of Television Creation and Programming
1.1.2. Types of Genres: Studio Programs, Magazines, Contests, Humor, Reality Shows and Fiction
1.1.3. Models of TV Genres and Their Historical Evolution

1.2. Television Genres

1.2.1. Non-Fiction Genres in the Current Television Landscape
1.2.2. Fiction Genres and Case Study: Fiction on American Television (from the Origins to the First Years of the 21st Century)

1.3. The Television Format Sources of Creativity

1.3.1. Theory on the Differences between Format, Genre, Program and Franchise
1.3.2. The Value of Television Format
1.3.3. Television Format Attributes
1.3.4. Effects of the Use of Television Formats
1.3.5. Origin of the Format: Sources of Creativity; Theory and Techniques of Creativity; Stages of the Creative Process

1.4. The Creative Process in Television Programming

1.4.1. The Creative Process in Entertainment

1.4.1.1. Creation, Development, Work Structure

1.4.2. The Creative Process in Fiction

1.4.2.1. Teams, Stages and Deadlines
1.4.2.2. Elements for the Creation of Fiction Television Formats
1.4.2.3. The Bible of a TV series

1.5. Format Analysis 

1.5.1. Types of Analysis
1.5.2. Elements to Consider
1.5.3. Analysis in Fiction Formats: Soap opera, sitcoms, TV, movies and miniseries
1.5.4. Analysis of Non-Fiction Formats: the Great Historical Contests,  Talk Show  (Characteristics, Evolution and Variants),  Talent Show

1.6. Selling the Format. The Launch

1.6.1. Selling a TV Format: Industry and Market Notions
1.6.2. Production concepts that affect formats
1.6.3. The Launch
1.6.4. Distribution of the TV Format: theFormat Package 

1.7. Introduction to Television Programming

1.7.1. Approaches and Definitions
1.7.2. The Role of Television Programming: Objectives, Preliminary Analysis, Broadcast Plan, Positioning
1.7.3. Basic Processes of Programming
1.7.4. Origins and Evolution of Television Programming
1.7.5. Programming Models: from Paleo-Television to Neo-Television

1.8. Television Programming Models I

1.8.1. United States and United Kingdom

1.8.1.1. At the Service of Industry (1928-1959)
1.8.1.2. Breakthrough as mass media (1950-1969)
1.8.1.3. Universalization of Audiences (1960-1975)
1.8.1.4. Deregulation Process (1975-1985)
1.8.1.5. Specialization (1985-2004)

1.8.2. Spain

1.8.2.1. Television as a Cultural Industry
1.8.2.2. Evolution of TV Programming in Spain
1.8.2.3. Prehistory of Television in Spain: Origins and the 1950s
1.8.2.4. Television Programming with RTVE's Monopoly
1.8.2.5. Transformation of the Television Market after the Breakup of the Monopoly
1.8.2.6. Television Programming in the 1990s and the Beginning of the 21st Century

1.9. Audience Research

1.9.1. Audience Concepts and History of Audience Measurement
1.9.2. Audience Measurement: Functions, Trends, Methods
1.9.3. Television Audience Ratios: Key Terms and Concepts
1.9.4. Audience Indicators
1.9.5. Audience Measurements: Functioning and Types
1.9.6. Data Collection in Television Audience Measurement
1.9.7. Surveying Technique and Its Limits
1.9.8. Factors Influencing the Audience ofa Program

1.10. The Professional Practice of Television Programming

1.10.1. The Role of the Programmer and the Programming Department
1.10.2. Television Consumption
1.10.3. The Configuration of the Television Grid
1.10.4. Programming Techniques and Strategies: Location, Format, Stars, Business, Corporate, Advertising Situation
1.10.5. Brief Aspects of the Legislation

Module 2. Television Scriptwriting: Programs and Fiction  

2.1. Dramatic Writing for Audiovisual Media  

2.1.1. Basic Elements of Dramatic Writing (Basic Notions of Audiovisual Narrative): Character, Action, Synopsis, Conflict, Dialogue, Point of View and Identification, Dramatic Mechanisms, Narrative Logics

2.2. The TV Fiction Script 

2.2.1. The constraints of plotting and writing for television: Plot Constraints and Writing for Television: Film Screenwriting and Television Screenwriting, Needs of Fiction Writing for Television, Differences between Television Writing Models, Production Writing Constraints: "Sudoku"

2.2.2. The Play-List: a Working Tool
2.2.3. Television Fiction Formats
2.2.4. The Creation of TV Series

2.2.4.1. The Starting Point: Concept Development
2.2.4.2. The Foundations of the Project: the Bible 
2.2.4.3. Structure 
2.2.4.4. Development of Storylines: Plots and Plot Maps 
2.2.4.5. Character Construction and the Characterization Process 
2.2.4.6. The Dialogues 
2.2.4.7. Scale 
2.2.4.8. Rewriting: Polishing the Structure of the Storyboard and Dialogues 
2.2.4.9. Organization of Script Teams: the Daily Series, the Procedural, the Prime Time Serial 
2.2.4.10. Pilot Chapter 
2.2.4.11. Project Presentation: Pitching 
2.2.4.12. Sales Dossier 

2.2.5. Case Studies: Scriptwriting in Cuéntame Cómo Pasó (TVE) 

2.3. The Scripting of Entertainment Programs: An Introduction 

2.3.1. General and Historical Overview of the Current Situation of Television Shows 
2.3.2. How to Create a TV Program 
2.3.3. Contests and Their Elements 
2.3.4. Magazines: Rhythm and Structure

2.4. Comedy Programs I 

2.4.1. Humor: Sketches and Political Correctness on TV 
2.4.2. Funny Programs 
2.4.3. Hidden Camera Programs 
2.4.4. Video Programs (Subtypes) 
2.4.5. The TV Monologue 
2.4.6. Crowdpleasers 

2.5. Comedy Programs II 

2.5.1. Daily Shows and Late Night Shows 
2.5.2. The Script and Humor of Current News: The Infoshow (El Intermedio as a case study) 

2.6. Reality Shows 

2.6.1. Historicals, Locked-in Classics, Talent Search, Role reversal, Life Style, Docu Soap, Humiliation TV  
2.6.2. Guidelines for Creating a Reality Show 
2.6.3. The Script in Reality TV 
2.6.4. The Limits of Reality 

2.7. Talent/Coach Shows 

2.7.1. Talent Shows 
2.7.2. Coach Shows 
2.7.3. Game Shows 

2.8. Documentaries I 

2.8.1. Ways of Representing Reality

2.8.1.1. Expository Documentary, Observational Documentary, Interactive Documentary, Reflective Documentary, Poetic Documentary, Expressive Documentary 

2.8.2. Phases in the Writing of the Documentary Screenplay

2.8.2.1. Idea, Story; Synopsis; Playbill/Transcript; Shooting Script/Editing Script

2.8.3. Narrative Resources in the Documentary Script

2.8.3.1. Characters, Action, Narrator's Voice/Author's Voice, Interviews, Stock footage, Color, 2D/3D Image, Digital effects, Music, Other Narrative Devices Digital effects, The music, Other narrative resources

2.9. Documentaries II 

2.9.1. Current Trends in Documentary Filmmaking 

2.9.1.1. Transformations of Documentary or Non-Fiction Filmmaking in the Digital Scene 
2.9.1.2. New Trends in Contemporary Documentary Film as a Result of the Triple Hybridization of Technology, Narrative and Creativity

2.9.2. Subgenres of Contemporary Documentary

2.9.2.1. Fake or Mockumentary 
2.9.2.2. Collaborative Documentary 
2.9.2.3. Film-Diary 
2.9.2.4. Family Cinema 
2.9.2.5. Found Footage Documentary 
2.9.2.6. Experimental Documentary, etc. 

2.10. New Formats (Hoax, Scripted Reality, etc.) 

2.10.1. New Formats and Hybridization: Case Studies 
2.10.2. Undercovered Boss 
2.10.3. House Hunters 
2.10.4. Fixer Upper 
2.10.5. The Apprentice 
2.10.6. Catfish 
2.10.7. Hell’s Kitchen 
2.10.8. Keeping Up with the Kardashians 
2.10.9. The Campos 
2.10.10. Alaska and Mario

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