Do you want to dedicate yourself to cultural journalism? Or are you looking to create your own cultural information project? This Professional master’s degree provides you with all the knowledge you need"

The multiple digital platforms for accessing audiovisual content, podcasts, the proliferation of on-site and online festivals, artistic exhibitions and the multiple media in which to enjoy a good read have meant that culture now has countless doors open to reach the population. In this new scenario, cultural journalism also has different ways to reach an increasingly segmented audience and consumer of cultural content.

The press, radio and television continue to be the current media, which are committed to maintaining specific sections dedicated to culture, although it is true that the digital world has opened up infinite possibilities for journalists to be able to provide cultural information. This Professional master’s degree offers the graduate an intensive and advanced learning in this field, through a content in which the latest technology used in academic teaching has been applied.

Thus, through innovative teaching material, students will be able to delve into the current market of cultural journalism, interpretative genres, information in conventional media or cyberculture and digital journalism of cultural content. All this with a theoretical approach, but at the same time practical thanks to the contribution of the teaching team of real cases, which will allow the student to obtain a clearer and more direct vision of this journalistic specialization.

All this, in a 100% online educational format, where the graduate will be able to access the Professional master’s degree whenever and wherever they wish. You only need a computer, tablet or cell phone with internet connection to view the content of the syllabus. Without fixed class schedules, students have the freedom to distribute the teaching load according to their needs. It is, therefore, an ideal university program for people who wish to combine their professional and/or personal responsibilities with a qualification that places them at the academic forefront.

Update your knowledge in cultural journalism and become a relevant communicator in film, art and other cultural trends of the moment"

This Professional master’s degree in Cultural Journalism contains the most complete and up-to-date program on the market. Its most notable features are:

• Practical cases presented by experts in Cultural Journalism 
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Its 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

Achieve a higher degree of professionalism in Cultural Journalism through the latest 100% online educational technology"

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 train 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 throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

With this university program you will learn about the new social trends in Cultural Journalism"

Access whenever you want, from your computer, the latest content on Cultural Journalism. Enroll now"

TECH uses the Relearning learning system in all its program, with which students can progress in a much more natural way, even reducing the hours of study. The graduate who takes this university education will also find multimedia material that enrich and make the acquisition of knowledge more fluid. In this way, you will delve into audiovisual culture, creative writing, art and digital culture or social networks. All this with the main objective of achieving your professional goals in the field of Cultural Journalism.

A 12-month long curriculum that will take you deep into the cultural industry and its dissemination through different media"

Module 1. The Culture Market

1.1. Culture Outside the Industry

1.1.1. The Art Market

1.1.1.1. Environment of the Cultural and Creative Industry: The Place of Cultural Organizations in Society
1.1.1.2. The Global Economic Impact of the Cultural and Creative Industry

1.1.2. Cultural Heritage and the Performing Arts

1.1.2.1. Cultural Heritage and the Performing Arts in Society
1.1.2.2. Cultural Heritage and the Performing Arts in the Media

1.2. Cultural Industries

1.2.1 The Concept of Cultural Industry

1.2.1.1. The Publishing Industry
1.2.1.2. The Musical Industry
1.2.1.3. The Film Industry

1.3 Journalism and Art

1.3.1. New and Old Forms of Communication

1.3.1.1. Beginnings and Evolution of Art in the Media
1.3.1.2. New Forms of Communication and Writing

1.4. Culture in the Digital World

1.4.1. Culture in the Digital World

1.4.1.1. The Omnipresence of the Visual Controversies of the Digital Age
1.4.1.2. The Transmission of Information through Video Games
1.4.1.3. Collaborative Art

1.5. The Media Structure

1.5.1. The Audiovisual and Press Sector

1.5.1.1. The Impact of Large Media Groups on Culture
1.5.1.2. Live Platforms, a Challenge for Conventional Media

1.5.2. The Cultural Journalism Sector

Module 2. Cultural Research, Management and Marketing

2.1. Introduction to Marketing

2.1.1. The 4 Ps

2.1.1.1. Basic Aspects of Marketing
2.1.1.2. Marketing Mix
2.1.1.3. The Necessity (or not) of Marketing in the Cultural Market

2.1.2. Marketing and Consumerism

2.1.2.2. Quality as a Cross-Cutting Factor in Information Products

2.2. Marketing and Value: Art for Art's Sake, Art in Ideological Programs, and Art as a Market Product

2.2.1. Art for Art's Sake

2.2.1.1. The Art of the Masses The Homogeneity of Art and Its Value
2.2.1.2. Is Art Created for the Media or Does the Media Transmit Art?

2.2.2. Art within Ideological Programs

2.2.2.1. Art, Politics and Activism
2.2.2.2. Basic Symbolism in Art

2.2.3. Art as a Market Product

2.2.3.1. Art in Advertising
2.2.3.2. Cultural Management for a Successful Development of the Work

2.3. Marketing of the Main Cultural Industries

2.3.1. Current Trends in the Main Cultural Industries

2.3.1.1. The Needs of Consumers as Represented in the Companies
2.3.1.2. Successful Cultural Products in the Media

2.2.4. Research as a Central Marketing Tool

2.4.1.1. Collection of Market and Consumer Data
2.4.1.2. Differentiation in Relation to Competitors
2.4.1.3. Other Investigative Strategies

2.5. The Future of Cultural Marketing

2.5.1. The Future of Cultural Marketing

2.5.1.1. Cultural Marketing Tendencies
2.5.1.2. The Cultural Products with the Greatest Power in the Market

Module 3. Culture Analysis

3.1. Theoretical and Methodological Approach to Culture

3.1.1. Beyond Customs

3.1.1.1. Art and Social Transformation
3.1.1.2. Art and Feminism

3.1.2. Symbols in Culture

3.1.2.1. Greek and Roman Symbology
3.1.2.2. Religious Symbology
3.1.2.3. Contemporary Symbology

3.2. Culture, Communication and Meaning

3.2.1. Language, Thought and Reality

3.2.1.1. The Concept of Culture and Cultural Change
3.2.1.2. The Cultural Approach through Art

3.2.2. Culture, Experience and Representation

3.2.2.1. Experiential Art

3.3. Culture and Imaginaries

3.3.1. Mass Culture and Visual Cultures

3.3.1.1. Stereotypes in the Mass Media
3.3.1.2. Cultural Integration in the Media

3.3.2. Culture and Image: Imagination, Representation and Imaginaries

3.3.2.1. Queer Art, Historical Invisibilization
3.3.2.2. Urban Art as a Tool for Empowerment

Module 4. Intercultural and Alternative Communication

4.1. Concept of Culture, Group and Identity Racism, Xenophobia and Ethnocentrism

4.1.1. Concept of Culture, Group and Identity

4.1.1.1. Mass Culture and Cultural Homogenization
4.1.1.2. Regionalism and Cultural Differentiation

4.1.2. Racism, Xenophobia and Ethnocentrism

4.1.2.1. Social and Cultural Distinctions
4.1.2.2. How to Report Social Group Rejections

4.2. Interpersonal Intercultural Communication

4.2.1. From People to People

4.2.1.1 Intercultural Communication in a Global World 
4.2.1.2. Media and Construction of Identities
4.2.1.3. Communication as the Axis of Transmission of Intercultural Values

4.3. Management of Intercultural Communication in Organizations

4.3.1. Management of Intercultural Communication in Organizations

4.3.1.1. Intercultural Competence in Organizations
4.3.1.2. Communication and Sustainability

4.4. Traditional Media Practices and the Representation of Cultures

4.4.1. Diversity in Advertising

4.4.1.1. Cultural Diversities and Sexism in Advertising
4.4.1.2. Diversity as a Key to Success

4.4.2. Guide to Intercultural Best Practices in Journalism

4.4.2.1. Inclusion of Minorities in the Media
4.4.2.2. Religious Impartiality in Major Conflicts
4.4.2.3. When Minorities Become the Majority

4.5. New Media, New Appropriations of Minority Groups?

4.5.1. Cyberactivism in Africa

4.5.1.1. The Arab Spring on Twitter
4.5.1.2. Reconnecting Women
4.5.1.3. Queer Cyberactivism 

Module 5. Cultural Journalism in Print Media: Interpretative Genres

5.1. Interpretive Genres

5.1.1. Interpretive Texts in Cultural Content

5.1.1.1. Subjectivity in Journalism and Culture
5.1.1.2. Interpretation Techniques in Journalism
5.1.1.3. Great Cultural Interpreters

5.1.2. Interview, Reportage, Chronicle, Criticism and Essay

5.1.2.1. Interview 
5.1.2.2. Report and Chronicle
5.1.2.3. Criticism and Essay

5.2. Opinion

5.2.1. Opinion Texts: Editorial, Columns, and Articles

5.2.1.1. Editorial
5.2.1.2. Spine 
5.2.1.3. Article

5.3. Criticism as a Core Genre in Cultural Journalism Specialization

5.3.1. Criticism as a Core Genre of Journalistic Specialization

5.3.1.1. Criticism and Writing
5.3.1.2. Transmedia Criticism

5.4. The Profile of the Cultural Journalist

5.4.1. Day-to-Day Journalism

5.4.1.1. Theoretical Approach to Cultural Journalism
5.4.1.2. Informative Documentation
5.4.1.3. Proactivity as a Professional Requirement

5.4.2. The Agenda of Cultural Journalism

5.4.2.1. The Spiral of Silence 
5.4.2.2. The Agenda Setting

5.5. Journalistic Specialization

5.5.1. Specialization According to Audiences

5.5.1.1. Specialized Journalism
5.5.1.2. Demanding Audiences
5.5.1.3. Cultural Journalism as a Specialization

Module 6. Cultural Information in the Press

6.1. Cultural Information in the Daily Press

6.1.1. Cultural Agenda Assessment of the Informative Fact

6.1.1.1. Assessment of the Informative Fact
6.1.1.2. Press Cultural Information
6.1.1.3. Cultural Agendas: Examples 

6.2. Informative Genres in Cultural Journalism

6.2.1. Informative Genres in Cultural Journalism

6.2.1.1. News, Report, Objective Interview and Documentation 

6.3. The Informative Headline

6.3.1. Elements of Titling The Wording of the Headline Basic Writing Rules

6.3.1.1. Elements of Titling
6.3.1.2. The Wording of the Headline
6.3.1.3. Basic Writing Rules

6.4. The Importance of the Opening Paragraph

6.4.1. The Origin and Functionality of the First Paragraph Basic Rules for Writing the First Paragraph of the News

6.4.1.1 The Origin and Functionality of the First Paragraph
6.4.1.2. Basic Rules for Writing the First Paragraph of the News

6.5. The Capacity to Communicate

6.5.1. Style Books Journalistic Style Content Structuring

6.5.1.1. Style Books
6.5.1.2. Journalistic Style
6.5.1.3. Content Structuring

6.6. Writing Workshop

6.6.1. Cultural Journalism Writing Workshop

6.6.1.1. Interview Analysis
6.6.1.2. Analysis of Reports and Chronicles
6.6.1.3. Analysis of Reviews, Critical Reviews, Opinion Articles and Opinion Columns

Module 7. Cultural Information on the Radio

7.1. Information Objectives on the Radio

7.1.1. Characteristics Compared to Other Media

7.1.1.1. The Origin of the Radio
7.1.1.2. Characteristics Compared to Other Media
7.1.1.3. The Role of Radio Currently

7.1.2. Radio Language

7.1.2.1. What Language Allows Radio to Do
7.1.2.2. Accent on the Radio
7.1.2.3. The Retransmission of Events

7.2. Introduction to Cultural Radio Programs

7.2.1. Synopsis and Headlines or Summaries

7.2.1.1. Information Spaces
7.2.2.2. Listener Participation in Information Spaces
7.2.2.3. New Technologies in Radio

7.3. Report and Interview

7.3.1. Report and Interview

7.3.1.1. The Report
7.3.1.2. The Interview

7.4. Continuity Elements

7.4.1. Radio Fluency

7.4.1.1. Speech and Vocal Moderation
7.4.1.2. Repetition 

7.5. Radio Script

7.5.1. Tools for Cultural Journalists in Radio

7.5.1.1. Radio Script
7.5.1.2. Radio Documentation
7.5.1.3. Style Manuals

Module 8. Data Visualization in Cultural Journalism

8.1. Visual Layout of Information 

8.1.1. The Fundamentals of Information Visualization Modeling 

8.1.1.1. The Image in the Press 
8.1.1.2. Information Visualisation 

8.2. Evolution of Journalistic Infographics 

8.2.1. Infographics in the Press, Precision Journalism and Analytical Visualization 

8.2.1.1. Infographics in the Press 
8.2.1.2. Precision Journalism 
8.2.1.3. Analytical Visualization 

8.3. Classification of Infographics 

8.3.1. Towards a New Journalistic Model 

8.3.1.1. Data Digitization 
8.3.1.2. The Interaction of Data in the Media From Advertising to Information 

8.3.2. Analytical Visualization and the Information Society 

8.3.2.1. Elimination of the Superfluous 
8.3.2.2. Tables, Diagrams, Graphs, Charts, Maps, Data Boxes, Infograms, Infographics, Stories 

8.4. The Role of the Journalism and Infographics Professional 

8.4.1. Build an Infographics Section in the Different Media 

8.4.1.1. Infographics Creation Tools 
8.4.1.2. Adaptation of Information to the Media 
8.4.1.3. The Infographics Agency 

8.5. Digitalization and Interactivity 

8.5.1. Interactive Visualization in a Multimedia and Multiplatform World 

8.5.1.1. Interactive Visualization 
8.5.1.2. Essential Principles of Interaction Design 
8.5.1.3. Multimediality 

8.6. Elements of Infographics in Journalism 

8.6.1. Selection and Planning. Data and Information. Work Distribution. Day-to-Day Work. The Choice of Software. Texts: Headlines and Body of the Information. Illustrations. Sources. The Signature

8.6.1.1. Selection and Planning. Data and Information. Work Distribution. Day-to-Day Work
8.6.1.2. Texts: Headlines and Body of the Information 
8.6.1.3. Illustrations. Sources. The Signature 

8.6.2. The Importance of Typographic Choice. Colors and Size Are Also Information 

8.6.2.1. The Importance of Typographic Choice 
8.6.2.2. Colors and Size 

Module 9. Creative Writing

9.1. Literature and Journalism

9.1.1. New Journalism: Validity and Expiration of Journalistic Narratives

9.1.1.1. Info-Fiction
9.1.1.2. Literary Construction of Reality
9.1.1.3. The Scenic Event 

9.1.2. Analysis of Classic and Recent New Journalism Reports

9.1.2.1. Work and Trajectory of the Most Outstanding Journalists and Writers in This Field
9.1.2.2. Media (Magazines, Supplements, Audiovisual Programs)

9.2. Diversification of Reality

9.2.1. Imagination in the Face of the Thematization of Culture

9.2.1.1. Positioning Among the Evidence
9.2.1.2. Counting the Stories Published
9.2.1.3. The Chronicle and the Literary Report

9.2.2. Rewriting of the Original Newspaper Pieces

9.2.2.1. Chronic
9.2.2.2. Interviews 
9.2.2.3. Reports

9.3. Literary Reconstruction of Reality

9.3.1. The Journalistic-Literary Article of a Cultural Witnessed Event

9.3.1.1. Performing Arts, Plastic Arts, Literature, Cinema, Children's Leisure, Museums, Architecture, Gastronomy, Trade Fairs, etc 
9.3.1.2. Cultural Programming Media
9.3.1.3. Internet and Social Networks

9.3.2. Design and Preparation of a Journalistic-Literary Article

9.3.2.1. Writing Tips

Module 10. Audiovisual Culture

10.1. Audiovisual Image and Culture

10.1.1. Learning to Look

10.1.1.1. The Study of the "Image-Culture" Relationship through Symbols 
10.1.1.2. Reading the Audiovisual Image
10.1.1.3. The Textual Analysis Method

10.1.2. Symbols in Visual Culture 

10.1.2.1. The Audiovisual Image as a Symbolic Form
10.1.2.2. The Most Used Symbols in the Audiovisual World

10.2. Forms in Audiovisual Language

10.2.1. The Law of Desire: Cinema as a Dream Factory

10.2.1.1. The Three Creative Tasks of Audiovisual Language: Staging, Framing and Serialization
10.2.1.2. The Spectator The Narrative Identification Process
10.2.1.3. The Mythical Roots of Audiovisual Storytelling

10.3. Discourses in Audiovisual Language

10.3.1. Audiovisual Discourse

10.3.1.1. Audiovisual Discourse
10.3.1.2. Classicism and the Rupture of (Post) Modernity

10.4. Cinema and the Visual Imaginary

10.4.1. The Narrative Dimension of the Imaginary

10.4.1.1. The Narrative Dimension of the Imaginary
10.4.1.2. Construction of the Identity

10.5. Images of Otherness

10.5.1. Construction and Reconstruction of Archetypes

10.5.1.1. The Representation of the Other
10.5.1.2. Images of Otherness

Module 11. Television Culture

11.1. Theoretical Basis

11.1.1. Basic Concepts and Differences with Radio and Other Media

11.1.1.1. Basic Concepts of Television Production
11.1.1.2. Difference with Film, Radio and Other Media

11.2. The Process of Television Creation

11.2.1. Production in the Studio

11.2.1.1. Particularities of Studio Recording
11.2.1.2. Functions of the Production Professional 
11.2.1.3. Other Personnel and Technical Equipment

11.2.2. Multi-Camera Techniques

11.2.2.1. Differences with Respect to Single-Camera Production
11.2.2.2. Camera Triangle
11.2.2.3. Live Television
11.2.2.4. The Playlist
11.2.2.5. Magazines, the Debate, the Interview... the Staging

11.3. Documentary and Cultural Report

11.3.1. Introduction to Documentaries

11.3.1.1. Documentary and Journalism
11.3.1.2. Interaction with Reality
11.3.1.3. Documentary of Creation

11.3.2. Report

11.3.2.1. Audiovisual Cultural Journalism
11.3.2.2. Report, News and Editing
11.3.2.3. Features of the Report

11.3.3. The Documentary-Report Project

11.3.3.1. Introduction
11.3.3.2. Plot
11.3.3.3. Context
11.3.3.4. Synopsis and Structure
11.3.3.5. Form and Style
11.3.3.6. Public

Module 12. Cyberculture and Digital Journalism of Cultural Contents

12.1. Culture and Cyberculture

12.1.1. Cyberculture and Digital Communication

12.1.1.1. Basic Concepts
12.1.1.2. New Cultural Model
12.1.1.3. Emerging Culture and Cultural Product

12.1.2. New Forms of Social Communication 

12.1.2.1. Popular Cyberculture
12.1.2.2. Transculturation and Cybertransculturation

12.1.3. Proactivity in Today's Society

12.1.3.1. Digital Civilization
12.1.3.2. Collective Intelligence 

12.2. Cyberjournalism

12.2.1. Creation of Digital Content

12.2.1.1. Online Journalism
12.2.1.2. Writing Cultural Content on and for the Web

12.2.2. Communication 2.0 and 3.0

12.2.2.1. Interactivity
12.2.2.2. Social Network

12.2.3. Hypertext and Multimedia

12.2.3.1. The Impact of Hypertext on Traditional Journalistic Genres and the Development of New Genres
12.2.3.2. Study and Application of Multimedia Resources in Web-Based Journalism

Module 13. Journalistic Design Workshop I

13.1. Journalistic Design in the Information Society

13.1.1. Information Design in Cultural Journalism

13.1.1.1. Concept of Journalistic Design 
13.1.1.2. Elements, Objectives and Specialities
13.1.1.3. Information Design in Cultural Journalism
13.1.1.4. The Role of the Designer in Today's Society

13.2. Textual and Typographic Language in Journalistic Design

13.2.1. Textual and Typographic Language in Journalistic Design

13.2.1.1. The Structuring of the Space that Holds the Signs: Format, Stain and Grid
13.2.1.2. Linguistic Signs and Their Graphical Appearance: Typography, Size, Color, Orientation, etc
13.2.1.3. Visibility and Readability
13.2.1.4. Basic Concepts of Textual Journalistic Elements
13.2.1.5. Text as an Informative Resource

13.2.2. Typography: Essential Concepts and Their Integration with Other Elements

13.2.2.1. Essential Concepts (Classes, Choice and Readability)
13.2.2.2. Effective Design Resources (Location, Size and Extent)
13.2.2.3. Integration of Design Resources with Other Elements (Iconic, Plastic and Structural)

13.3. The Role of the Image in Informing

13.3.1. The Role of the Image in Informing

13.3.1.1. Photography, Illustration and Infographics
13.3.1.2. Functions and Styles

13.3.2. Basic Journalistic Resources

13.3.2.1. Photography
13.3.2.2. Illustration
13.3.2.3. Infographics

13.4. Color in Information Design

13.4.1. Color in Cultural Journalism

13.4.1.1. The Meaning of Color at a Cultural Level
13.4.1.2. Technical and Journalistic Application of Color
13.4.1.3. Color and Cultural Journalism

13.5. Composition of a Printed Cultural Project

13.5.1. Hierarchization and Structuring of the Elements

13.5.1.1. Joint Application of Available Hierarchization and Structuring Resources
13.5.1.2. Contrast, Proportion, Harmony, Symmetry, and Balance

13.5.2. Adaptation to the Cultural Product and to the Culture of the Audience

13.5.2.1. Adaptation to the Cultural Product 
13.5.2.2. Adaptation to the Culture of the Audience
13.5.2.3. Consideration of the Technical and Economic Possibilities Available

Module 14. Journalistic Design Workshop II 

14.1. Adapting the Artistic Model to the Media

14.1.1. The Genealogy of New Artistic Formats

14.1.1.1. From Photography to Net Art

14.1.2. Art in the Media and the Media in Art

14.1.2.1. Incursion of Media Art
14.1.2.2. Art in the New Media
14.1.2.3. Contemporary Artistic Movements

14.2. Digital Technology and Photography

14.2.1. The Pic-Revolution

14.2.1.1. Study and Evaluation of Digital Technology Adapted to the Field of Photographic Artwork
14.2.1.2. Manifestations: Art on the Internet
14.2.1.3. Hacktivism

14.3. The Medium as an Artistic Vehicle

14.3.1. Analysis of the Viability of Art in the Media

14.3.1.1. Multimedia Art
14.3.1.2. The Limits of Art in the Media

14.4. Interaction with the (Non-)Viewer

14.4.1. The Requirement for Audience Participation in the Work

14.4.1.1. Mechanical-Electrical Interactivity
14.4.1.2. Interactivity in Videogames
14.4.1.3. Electronic Interactivity

14.4.2. Whose Art Is It? The Influence of Society on Art and How It Translates to the Media

14.4.2.1. Influence of Society on Art
14.4.2.2. Transfer of Art to the Media

14.5. Current Art

14.5.1. Production, Curatorship and Exhibition of Digital Art and Immaterial Museums

14.5.1.1. Production
14.5.1.2. Curatorship 
14.5.1.3. Exhibition of Digital Art and Immaterial Museums

Module 15. Cultural Journalism Workshop

15.1. The Network of Digital Communication

15.1.1 Cultural Journalism in the Conventional Media and Its Integration in the Digital World

15.1.1.1. Objectives and Sources of Cultural Journalism in Audiovisual Media
15.1.1.2. Know the Audience and Know Where to Find Them
15.1.1.3. Programs and Genres of Cultural Journalism in Linear and Non-Linear Radio and Television Media

15.1.2. The Art of Storytelling

15.1.2.1. The Perspective of Narratology and Storytelling
15.1.2.2. Self-Knowledge, Motivation and Personal Goals in the Practice of Cultural Journalism
15.1.2.3. Creativity and the Point of View of Journalistic Narrative
15.1.2.4. Informative Rigor in Cultural Information
15.1.2.5. Identity and Style of Personal Brand

15.2. Journalistic Documentation

15.2.1. Essential Guides to Cultural Journalism Documentation

15.2.1.1. Historical Documentation
15.2.1.2. Current Documentation
15.2.1.3. The Raging News

15.3. Current Trends in Communication Applied to Cultural Journalism

15.3.1. The 3.0 Philosophy of Communication

15.3.1.1. Web 3.0: Definition and Characteristics
15.3.1.2. Cultural Journalism in Web 3.0
15.3.1.3. Characteristics of Journalistic Writing Based on Convergence

15.4. Social Networks and Journalism

15.4.1. Media and Social Media Management

15.4.1.1. Facebook
15.4.1.2. Twitter
15.4.1.3. Instagram
15.4.1.4. LinkedIn
15.4.1.5. Other Networks 

15.4.2. Interactive Journalistic Content

15.4.2.1. The Role of the Journalism Professional
15.4.2.2. Inform and Entertain
15.4.2.3. More Digital Media
15.4.2.4. Interactive Journalism Content

15.4.3. Communication Disorders

15.4.3.1. Audience and the User
15.4.3.2. The Media and the Content
15.4.3.3. The Medium 
15.4.3.4. The Weather
15.4.3.5. Disinformation

15.5. The Visibility of Cultural Information on the Web

15.5.1. Web Positioning: SEO, SEM, SMO, SMM and SERM. Specialized Journalistic Contents

15.5.1.1. SEO
15.5.1.2. SEM
15.5.1.3. SMO
15.5.1.4. SMM
15.5.1.5. SERM

A unique, key, and decisive program to boost your professional development”