A comprehensive Professional master’s degreeof the highest quality, which will allow you to acquire the personal and professional work tools necessary to master the management of the audiovisual industry

The audiovisual industry is an industry in which the passage of time has become a process of strengthening and development without brake. At the present time, the proliferation of diverse workspaces and communication in this spectrum determine an extreme need for specific education to maintain competitiveness and get the business niche that ensures the viability of a project. This program has been developed to fully train you you in this field, with the reliability and seriousness of the largest online educational institution in the world. 

The audiovisual industry is developing at a dizzying pace, feeding intensively on the social, economic and cultural changes of the international environment. Management in this context is the essential guideline to give real chances of success, in the practical sense of the term, to any project. 
In order to be able to work in this field in a precise and solvent way, you will need a personal background of broad but specific knowledge in the different fields and contexts of the audiovisual sector.

This Professional Master's Degree has been developed with the clear and concrete objective of providing the necessary professional tools to be able to organize and manage the management processes of the different work fields involved. With this approach in, we will begin by covering the concepts of industry and culture, studying cultural journalism and the way it works.

The technical part, focused on the realization of the projects, from the theoretical and practical points of view, will lead you through the journey from the idea to the staging. This approach, which will give you theoretical knowledge and the ability to apply it in practice, will be present throughout the entire education in the different subjects. In this way, everything you will learn will be converted into real working skills that will allow you to boost your capacity intensively. Therefore, you will learn the structure of the audiovisual system and the way in which the production of this type of content contemplates its financing and its valuation of investment in costs and benefits.

Another relevant aspect refers more directly to the most creative part of the sector. Learn basics that determine the direction of actors in fiction and the creation of narrative discourse. This data will allow you to continue advancing towards the understanding of the cultural industry and the new communication models that are currently being developed. In this sense, an in-depth knowledge of the new genres and formats that are being used in TV is a must. A domain that will give you the necessary perspective to position it in your own way and reach your target audience. 

Acquire the skills of an expert manager in the audiovisual industry"

This Professional master’s degree in MBA in Audiovisual Business Management 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
• Supplementary documentation databases are permanently available, even after the program

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 deliver 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 this program: one of its differential qualities.

This mastery of the subject is complemented by the effectiveness of the methodological design of this Professional master’s degree. 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 facing the scenario you are learning at that moment. A concept that will allow you to integrate and fix learning in a more realistic and permanent way. 

The different scenarios of the management of the audiovisual industry developed with clarity and effectiveness to drive our students"

A practical and real program that will allow you to advance gradually and safely"

The syllabus of the program 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. 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. The Work Team 

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 Equipment 

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. The Casting Test 

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. 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. The 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. Developments 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 Programming

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. The Study of Audiences: Traditions I

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

9.3. The Study of Audiences: Traditions 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 are They? 
9.7.3. Why do They Consume?

9.8. Audiences: Essential Questions II

9.8.1. What do they Consume? 
9.8.2. How do they Consume?
9.8.3. With what Effects? 

9.9. The Engagement Model I

9.9.1. Engagement as a Metadimension 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. Observable Behavior 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

10.9. 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 Performance 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. Talent Identification, Training and Development 
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. Analyzing and Solving 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. 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

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