This program will allow you to face all current and future communicative challenges, educating you on the latest advances in digitalization and transmedia processes”

Transmedia storytelling is one of the latest steps on a path that began with the emergence of personal computing and the Internet. Thus, digitalization has driven all types of communications, whether through social networks, online video games or one of the many other channels. It has also transformed consumption habits for products such as movies, television series and even comic books. Ultimately, this has resulted in the coexistence of stories across different media that were traditionally mutually exclusive and that now feed back into each other.

Thus, nowadays a television series does not have to end with the final episode, but can continue through fanfiction, forum discussions, small spin-offs in webseries format or novels that expand on the original story, along with other possibilities. Today’s digital communication is therefore complex, highly dynamic, and would not be understood without the direct intervention of millions of users.

For this reason, it is necessary for communication and journalism professionals to have in-depth knowledge of the mechanisms that govern these processes, so that they can mediate the different multimedia discourses contained within Streaming services, social networks or virtual reality platforms and use them to their advantage, in line with objectives. This program offers students the latest and most advanced knowledge in these areas, allowing them to operate comfortably in these rapidly changing environments.

TECH will also provide students with cutting-edge content, presented through teaching resources that can be accessed 24 hours a day, and a renowned faculty from the field of communication who will update them in an efficient and flexible way, adapted to their needs.

TECH’s 100% online methodology has been designed so that professionals can combine their studies with their work, without rigid schedules or uncomfortable commuting to an academic center”

This Advanced master’s degree in Digital Communication and Transmedia contains the most complete and up-to-date program on the market. The most important features include: 

• The examination of case studies presented by experts in Digital Communication and Transmedia
• Graphic, schematic, and practical contents which provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where self-assessment can be carried out to improve learning
• Special emphasis on innovative methodologies in the field of Digital Communication
• 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

The best multimedia teaching resources will be at your fingertips: case studies, interactive summaries, master classes. The best educational technology for you to become an outstanding professional”

The teaching staff includes professionals from the field of journalism and communication, who bring their 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 an immersive learning experience designed to prepare them for real-life situations.

This program is designed around Problem-Based Learning, whereby the student must try to solve the different professional practice situations that arise throughout the program. For this purpose, the professional will be assisted by an innovative interactive video system created by renowned and experienced experts.

You will have a renowned faculty from the field of communication at your disposal, who will be in charge of updating you on all the advances in Digital Communication and Transmedia"

With this Advanced master’s degree you will delve into the latest advances in Storytelling, Crossmedia and transmedia content production"

This Advanced master’s degree in Digital Communication and Transmedia is structured in 19 modules and will allow in-depth study of the issues to be taken into account when defining the individual elements of a transmedia experience, transmedia business models, the narrative of video games and their importance in a transmedia narrative, graphic design with Adobe Lightroom or creative and advertising communication, among many others.

A renowned teaching staff is combined with cutting-edge content, designed to respond to today's communication complexities’’

Module 1. Communication Structure

1.1. Theory, Concept and Method of Communication Structure

1.1.1. Introduction
1.1.2. Autonomy of the Discipline and Relationships with other Subjects
1.1.3. The Structuralist Method
1.1.4. Definition and Purpose of the Communication Structure
1.1.5. Guide to the Analysis of Communication Structure

1.2. New International Communication Order

1.2.1. Introduction
1.2.2. State Control: Monopolies
1.2.3. Communication Marketing
1.2.4. Cultural Dimension of Communication

1.3. Major Information Agencies

1.3.1. Introduction
1.3.2. What is an Information Agency?
1.3.3. News and Information
1.3.4. Before the Internet
1.3.5. News Agencies can be seen Thanks to the Internet
1.3.6. The World's Major Agencies

1.4. The Advertising Industry and its Relationship with the Media System

1.4.1. Introduction
1.4.2. Advertising Industry
1.4.3. The Need of Advertising for the Media
1.4.4. La Structure of the Advertising Industry
1.4.5. The Media and its Relationship with the Advertising Industry
1.4.6. Advertising Regulations and Ethics

1.5. Cinema and the Culture and Leisure Market

1.5.1. Introduction
1.5.2. The Complex Nature of Cinema
1.5.3. The Origin of the Industry
1.5.4. Hollywood, the Film Capital of the World

1.6. Political Power and the Media

1.6.1. Introduction
1.6.2. Influence of the Media in the Formation of Society
1.6.3. Media and Political Power

1.7. Media Concentration and Communication Policies

1.7.1. Introduction
1.7.2. Media Concentration
1.7.3. Communication Policies

1.8. Communication Structure in Latin America

1.8.1. Introduction
1.8.2. Communication Structure in Latin America
1.8.3. New Trends

1.9. Media System in Latin America and the Digitization of Journalism

1.9.1. Introduction
1.9.2. Historical Approach
1.9.3. Bipolarity of the Latin American Media System
1.9.4. U.S. Hispanic Media

1.10. Digitalization and the Future of Journalism

1.10.1. Introduction
1.10.2. Digitalization and the New Media Structure
1.10.3. The Structure of Communication in Democratic Countries

Module 2. Social Communication Theory

2.1. The Art of Communicating

2.1.1. Introduction: The Study of Communication as a Social Science
2.1.2. Knowledge

2.1.2.1. Sources of Knowledge

2.1.3. The Scientific Method

2.1.3.1. The Deductive Method
2.1.3.2. Inductive Method
2.1.3.3. Hypothetical-Deductive Method

2.1.4. Common Concepts in Scientific Research

2.1.4.1. Dependent and Independent Variables
2.1.4.2. Hypotheses
2.1.4.3. Operationalization
2.1.4.4. The Law or Theory of Hedging

2.2. Elements of Communication

2.2.1. Introduction
2.2.2. Elements of Communication
2.2.3. Empirical Research

2.2.3.1. Basic Versus Applied Research
2.2.3.2. Research Paradigms
2.2.3.3. Values in Research
2.2.3.4. The Unit of Analysis
2.2.3.5. Cross-Sectional and Longitudinal Studies

2.2.4. Define Communication

2.3. Trends in Social Communication Research

2.3.1. Introduction. Communication in the Ancient World
2.3.2. Communication Theorists

2.3.2.1. Greece
2.3.2.2. The Sophists, Early Communication Theorists
2.3.2.3. Aristotelian Rhetoric
2.3.2.4. Cicero and the Canons of Rhetoric
2.3.2.5. Quintilian: The Oratorical Institution

2.3.3. The Modern Period: The Theory of Argumentation

2.3.3.1. Anti-Rhetoricist Humanism
2.3.3.2. Communication in Baroque
2.3.3.3. From the Enlightenment to Mass Society

2.3.4. The 20th Century: The Rhetoric of the Mass Media

2.3.4.1. Media Communication

2.4. Communicative Behavior

2.4.1. Introduction: The Communicative Process
2.4.2. Communicative Behavior

2.4.2.1. Animal Ethology and the Study of Human Communication
2.4.2.2. The Biological Background of Communication
2.4.2.3. Intrapersonal Communication
2.4.2.4. Patterns of Communicative Behavior

2.4.3. The Study of Non-Verbal Communicative Behavior

2.4.3.1. The Movement of the Body as a Pattern of Communicative Action
2.4.3.2. The Latent Content of Non-Verbal Communication: Deception in Body Movements

2.5. The Communicative Transaction

2.5.1. Introduction: The Communicative Transaction
2.5.2. Transactional Analysis

2.5.2.1. The I-Child
2.5.2.2. The Father-Self
2.5.2.3. The Adult-Self

2.5.3. Classification of Transactions

2.6. Identity, Self-Concept and Communication

2.6.1. Introduction
2.6.2. Identity, Self-Concept and Communication

2.6.2.1. Transactional Micropolitics and Self-Concept: Interaction as Negotiation of Identities
2.6.2.2. The Strategy of Negative Emotions
2.6.2.3. The Strategy of Positive Emotions
2.6.2.4. The Strategy to Induce Emotions in Others
2.6.2.5. The Mutual Commitment Strategy
2.6.2.6. The Strategy of Pity or Understanding

2.6.3. The Presentation of Oneself in Everyday Rituals

2.6.3.1. Symbolic Interactionism

2.6.4. Constructivism
2.6.5. Self-Concept Motivated to Interact

2.6.5.1. The Theory of Reasoned Action

2.6.6. Conversational Pragmatics

2.7. Communication in Groups and Organizations

2.7.1. Introduction: the Communicative Process
2.7.2. Communicative Behavior

2.7.2.1. Animal Ethology and the Study of Human Communication
2.7.2.2. The Biological Background of Communication
2.7.2.3. Intrapersonal Communication
2.7.2.4. Patterns of Communicative Behavior

2.7.3. The Study of Non-Verbal Communicative Behavior

2.7.3.1. The Movement of the Body as a Pattern of Communicative Action
2.7.3.2. The Latent Content of Non-Verbal Communication: Deception in Body Movements

2.8. Media Communication I

2.8.1. Introduction
2.8.2. Media Communication
2.8.3. Characteristics of the Media and its Messages

2.8.3.1. The Mass Media
2.8.3.2. Media Functions

2.8.4. The Powerful Effects of the Mass Media

2.8.4.1. The Media Tell us What to Think and What not to Think

2.9. Media Communication II

2.9.1. Introduction
2.9.2. The Hypodermic Theory
2.9.3. The Limited Effects of the Media
2.9.4. The Uses and Gratifications of Mass Communications 

2.9.4.1. Theory of Uses and Gratifications
2.9.4.2. Origins and Principles
2.9.4.3. Objectives of the Theory of Uses and Gratifications
2.9.4.4. Expectations Theory

2.10. Media Communication III

2.10.1. Introduction
2.10.2. Computerized Communication and Virtual Reality

2.10.2.1. Computer-mediated Communication: The Problem of its Theoretical Integration
2.10.2.2. Definitions of Computerized Communication

2.10.3. Evolution of the Theory of Uses and Gratifications

2.10.3.1. Reinforcements of Media Dependency Theory

2.10.4. Virtual Reality as an Emerging Object of Study

2.10.4.1. Psychological Immersion of the User

2.10.5. Telepresence

Module 3. Technology and Information and Knowledge Management

3.1. New Communication Tendencies

3.1.1. Introduction to Computer Science
3.1.2. What is a Computer?

3.1.2.1. Elements of a Computer

3.1.3. The Files

3.1.3.1. File Compression

3.1.4. Representation and Information Measurement
3.1.5. Distance Learning
3.1.6. Basic Rules of Online Communication
3.1.7. How to Download Information from the Internet?

3.1.7.1. Saving an Image

3.1.8. The Forums as a Place of Interaction

3.2. The Design and Use of Virtual Classrooms for Distance Learning

3.2.1. Introduction
3.2.2. Distance Learning

3.2.2.1. Features
3.2.2.2. Advantages of Distance Educational
3.2.2.3. Distance Education Generations

3.2.3. Virtual Classrooms in Distance Learning

3.2.3.1. The Design of Virtual Classrooms for Distance Learning

3.2.4. Virtual Worlds and Distance Education

3.2.4.1. Second Life

3.3. Plan and Organisation Techniques

3.3.1. Introduction
3.3.2. Knowledge Maps

3.3.2.1. Functional Criteria
3.3.2.2. Classification of Knowledge Maps
3.3.2.3. Concept and Definition of the Knowledge Map
3.3.2.4. Mapping or Application of Knowledge

3.3.3. Construction of Knowledge Maps
3.3.4. Types of Knowledge Maps
3.3.5. Knowledge Maps with their Own Name

3.3.5.1. Concept Maps
3.3.5.2. Mind Maps
3.3.5.3. Yellow Pages

3.4. Collaborative Work Environments: Tools and Applications in the Cloud

3.4.1. Introduction
3.4.2. Benchmarking

3.4.2.1. Concepts

3.4.3. Benchmark and Benchmarking
3.4.4. Types and Phases of Benchmarking. Approaches and Approximations to Benchmarking
3.4.5. Benchmarking Costs and Benefits
3.4.6. The Xerox Case Study
3.4.7. Institutional Reports

3.5. Online Communication and Online Communication for Learning

3.5.1. Introduction
3.5.2. Online Communication

3.5.2.1. What is Communication and How is it Performed?
3.5.2.2. What is Online Communication?
3.5.2.3. Online Communication for Learning
3.5.2.4. Online Communication for Distance Learning and the Distance Learner

3.5.3. Free Online Communication Tools

3.5.3.1. E-mail
3.5.3.2. Instant Messaging Tools
3.5.3.3. Google Talk
3.5.3.4. Pidgin
3.5.3.5. Facebook Messenger
3.5.3.6. WhatsApp

3.6. Knowledge Management

3.6.1. Introduction to Knowledge Management
3.6.2. FADO Matrices
3.6.3. What is Communication and How is it Performed?
3.6.4. Definition

    3.6.4.1. Steps to Construct a Cause-Effect Diagram

3.7. Data Processing Tools. Spreadsheets

3.7.1. Introduction to Calculation Sheets
3.7.2. Origins
3.7.3. Cells
3.7.4. Basic Arithmetic Operations in Spreadsheets

3.7.4.1. The Four Basic Operations

3.7.5. Operations with Constants
3.7.6. Operations with Variables. Advantages
3.7.7. Relativity

3.8. Digital Presentation Tools

3.8.1. Introduction
3.8.2. How to Prepare Effective Academic Presentations

3.8.2.1. Planning and Outlining the Presentation

3.8.3. Production
3.8.4. SlideShare

3.8.4.1. Main Characteristics and Functional Criteria
3.8.4.2. How to Use SlideShare?

3.9. Online Information Sources

3.9.1. Introduction
3.9.2. Traditional Media

3.9.2.1. Radio
3.9.2.2. Press
3.9.2.3. Television

3.9.3. Blog
3.9.4. YouTube
3.9.5. Social media

3.9.5.1. Facebook
3.9.5.2. Twitter
3.9.5.3. Instagram
3.9.5.4. Snapchat

3.9.6. Search Engine Advertising
3.9.7. Newletters

3.10. Saturation of Information

3.10.1. Introduction
3.10.2. Saturation of Information

3.10.2.1. Information in Today's World
3.10.2.2. Press
3.10.2.3. Television
3.10.2.4. Radio

3.10.3. Manipulating Information

Module 4. Written Communication

4.1. History of Communication

4.1.1. Introduction
4.1.2. Communication in Antiquity
4.1.3. The Revolution of Communication
4.1.4. Current Communication

4.2. Oral and Written Communication

4.2.1. Introduction
4.2.2. The Text and its Linguistics
4.2.3. The Text and its Properties: Coherence and Cohesion

4.2.3.1. Coherence
4.2.3.2. Cohesion
4.2.3.3. Recurrence

4.3. Planning or Prewriting

4.3.1. Introduction
4.3.2. Writing Processes
4.3.3. Planning
4.3.4. Documentation

4.4. The Act of Writing

4.4.1. Introduction
4.4.2. Style
4.4.3. Lexicon
4.4.4. Sentence
4.4.5. Paragraph

4.5. Rewriting

4.5.1. Introduction
4.5.2. The Review
4.5.3. How to Use the Computer to Improve the Text

4.5.3.1. Dictionary
4.5.3.2. Search/Change
4.5.3.3. Synonyms
4.5.3.4. Paragraph
4.5.3.5. Shades
4.5.3.6. Cut and Paste
4.5.3.7. Change Control, Commenting and Version Comparison

4.6. Spelling and Grammar Issues

4.6.1. Introduction
4.6.2. Most Common Accentuation Problems
4.6.3. Capitalization
4.6.4. Punctuation Marks
4.6.5. Abbreviations and Acronyms
4.6.6. Other Signs
4.6.7. Some Problems

4.7. Textual Models: The Description

4.7.1. Introduction
4.7.2. Definition
4.7.3. Types of Description
4.7.4. Description Types
4.7.5. Techniques
4.7.6. Linguistic Elements 

4.8. Textual Models: Narration

4.8.1. Introduction
4.8.2. Definition
4.8.3. Features
4.8.4. Components
4.8.5. The Narrator
4.8.6. Linguistic Elements

4.9. Textual Models: The Exposition and the Epistolary Genre

4.9.1. Introduction
4.9.2. The Exposition
4.9.3. The Epistolary Genre
4.9.4. Components

4.10. Textual Models: Argumentation

4.10.1. Introduction
4.10.2. Definition
4.10.3. Elements and Structure of Argumentation
4.10.4. Types of Arguments
4.10.5. Fallacies
4.10.6. Structure
4.10.7. Linguistic Features

4.11. Academic Writing

4.11.1. Introduction
4.11.2. Scientific Work
4.11.3. Summary
4.11.4. The Review
4.11.5. The Trial
4.11.6. Appointments
4.11.7. Writing on the Internet

Module 5. Television Communication

5.1. The Message on Television

5.1.1. Introduction
5.1.2. The Message on Television
5.1.3. TV as the Union of Dynamic Image and Audio

5.2. History and Evolution of the Television Media

5.2.1. Introduction
5.2.2. Origin of the Television Medium
5.2.3. History and Evolution in the World of Television Media

5.3. Television Genres and Formats

5.3.1. Introduction
5.3.2. Television Genres
5.3.3. Format on Television

5.4. The Script on Television

5.4.1. Introduction
5.4.2. Types of Scripts
5.4.3. Role of the Script in Television

5.5. Television Programming

5.5.1. Introduction
5.5.2. History
5.5.3. Block Programming
5.5.4. Cross Programming
5.5.5. Counterprogramming

5.6. Language and Narration in Television

5.6.1. Introduction
5.6.2. Language in Television
5.6.3. Television Narration

5.7. Speech and Expression Techniques

5.7.1. Introduction
5.7.2. Speech Techniques
5.7.3. Expression Techniques

5.8. Creativity in Television

5.8.1. Introduction
5.8.2. Creativity in Television
5.8.3. The Future of Television

5.9. Production

5.9.1. Introduction
5.9.2. Television Production
5.9.3. Pre-Production
5.9.4. Production and Recording
5.9.5. Postproduction

5.10. Digital Technologies and Techniques in Television

5.10.1. Introduction
5.10.2. The Role of Technology in Television
5.10.3. Digital Techniques in Television

Module 6. Radio Communication

6.1. History of Broadcasting

6.1.1. Introduction
6.1.2. Origins
6.1.3. Orson Welles and "The War of the Worlds’’
6.1.4. Radio in the World
6.1.5. The New Radio

6.2. Current Overview of the Radio in Latin America

6.2.1. Introduction
6.2.2. Radio History in Latin America
6.2.3. Currently

6.3. Radio Language

6.3.1. Introduction
6.3.2. Characteristics of Radio Communication
6.3.3. Elements that Make Up the Radio Language
6.3.4. Characteristics of the Construction of Radiophonic Texts
6.3.5. Characteristics of Radiophonic Text Writing
6.3.6. Glossary of Terms Used in Radiophonic Language

6.4. The Radio Script Creativity and Expression

6.4.1. Introduction
6.4.2. Radio Script
6.4.3. Basic Principles in the Development of a Script

6.5. Broadcast Production, Realization and Voice-Over in Broadcasting

6.5.1. Introduction
6.5.2. Production and Realization
6.5.3. Radio Voice-Over
6.5.4. Peculiarities of Radio Voice-Over
6.5.5. Practical Breathing and Voice-Over Exercises

6.6. Improvisation in Broadcasting

6.6.1. Introduction
6.6.2. Peculiarities of the Radio Media
6.6.3. What is Improvisation?
6.6.4. How is Improvisation Carried Out?
6.6.5. Sports Information in Radio. Characteristics and Language
6.6.6. Lexical Recommendations

6.7. Radio Genres

6.7.1. Introduction
6.7.2. Radio Genres

6.7.2.1. The News
6.7.2.2. The Chronicle
6.7.2.3. The Report
6.7.2.4. The Interview

6.7.3. The Round Table and the Debate

6.8. Radio Audience Research

6.8.1. Introduction
6.8.2. Radio Research and Advertising Investment
6.8.3. Main Research Methods
6.8.4. General Media Study
6.8.5. Summary of the General Media Study
6.8.6. Traditional Radio vs. Online Radio

6.9. Digital Sound

6.9.1. Introduction
6.9.2. Basic Concepts about Digital Sound
6.9.3. History of Sound Recording
6.9.4. Main Digital Sound Formats
6.9.5. Digital Sound Editing Audacity

6.10. New Radio Operator

6.10.1. Introduction
6.10.2. New Radio Operator
6.10.3. The Formal Organization of Broadcasters
6.10.4. The Task of the Editor
6.10.5. The Content Gathering
6.10.6. Immediacy or Quality?

Module 7. Creativity in Communication

7.1. To Create is to Think

7.1.1. The Art of Thinking
7.1.2. Creative Thinking and Creativity
7.1.3. Thought and Brain
7.1.4. The Lines of Research on Creativity: Systematization

7.2. Nature of the Creative Process

7.2.1. Nature of Creativity
7.2.2. The Notion of Creativity: Creation and Creativity
7.2.3. The Creation of Ideas for Persuasive Communication
7.2.4. Nature of the Creative Process in Advertising

7.3. The Invention

7.3.1. Evolution and Historical Analysis of the Creation Process
7.3.2. Nature of the Classical Canon of the Invention
7.3.3. The Classical View of Inspiration in the Origin of Ideas
7.3.4. Invention, Inspiration, Persuasion

7.4. Rhetoric and Persuasive Communication

7.4.1. Rhetoric and Advertising
7.4.2. The Rhetorical Parts of Persuasive Communication
7.4.3. Rhetorical Figures
7.4.4. Rhetorical Laws and Functions of Advertising Language

7.5. Creative Behavior and Personality

7.5.1. Creativity as a Personal Characteristic, as a Product and as a Process
7.5.2. Creative Behavior and Motivation
7.5.3. Perception and Creative Thinking
7.5.4. Elements of Creativity

7.6. Creative Skills and Abilities

7.6.1. Thinking Systems and Models of Creative Intelligence
7.6.2. Three-Dimensional Model of the Structure of the Intellect According to Guilford
7.6.3. Interaction Between Factors and Intellectual Capabilities
7.6.4. Creative Skills
7.6.5. Creative Capabilities

7.7. The Phases of the Creative Process

7.7.1. Creativity as a Process
7.7.2. The Phases of the Creative Process
7.7.3. The Phases of the Creative Process in Advertising

7.8. Troubleshooting

7.8.1. Creativity and Problem Solving
7.8.2. Perceptual Blocks and Emotional Blocks
7.8.3. Methodology of Invention: Creative Programs and Methods

7.9. The Methods of Creative Thinking

7.9.1.  Brainstorming as a Model for the Creation of Ideas
7.9.2. Vertical Thinking and Lateral Thinking
7.9.3. Methodology of Invention: Creative Programs and Methods

7.10. Creativity and Advertising Communication

7.10.1. The Creative Process as a Specific Product of Advertising Communication
7.10.2. Nature of the Creative Process in Advertising: Creativity and the Creative Advertising Process
7.10.3. Methodological Principles and Effects of Advertising Creation
7.10.4. Advertising Creation: From Problem to Solution
7.10.5. Creativity and Persuasive Communication

Module 8. Corporate Identity

8.1. The Importance of Image in Businesses

8.1.1. What is Corporate Image?
8.1.2. Differences between Corporate Identity and Corporate Image
8.1.3. Where can the Corporate Image be Manifested?
8.1.4. Corporate Image Change Situations: Why Get a Good Corporate Image?

8.2. Research Techniques in Corporate Image

8.2.1. Introduction
8.2.2. The study of the Company's Image
8.2.3. Corporate Image Research Techniques
8.2.4. Qualitative Image Study Techniques
8.2.5. Types of Quantitative Techniques

8.3. Image Audit and Strategy

8.3.1. What is Image Audit?
8.3.2. Guidelines
8.3.3. Audit Methodology
8.3.4. Strategic Planning

8.4. Corporate Culture

8.4.1. What is Corporate Culture?
8.4.2. Factors Involved in Corporate Culture
8.4.3. Functions of Corporate Culture
8.4.4. Types of Corporate Culture

8.5. Corporate Social Responsibility and Corporate Reputation

8.5.1. CSR: Concept and Application of the Company
8.5.2. Guidelines for Integrating CSR into Businesses
8.5.3. CSR Communication
8.5.4. Corporate Reputation

8.6. Corporate Visual Identity and Naming

8.6.1. Corporate Visual Identity Strategies
8.6.2. Basic Elements
8.6.3. Basic Principles
8.6.4. Preparation of the Manual
8.6.5. Naming

8.7. Brand Image and Positioning

8.7.1. The Origins of Trademarks
8.7.2. What is a Brand?
8.7.3. The Need to Build a Brand
8.7.4. Brand Image and Positioning
8.7.5. The Value of Brands

8.8. Image Management through Crisis Communication

8.8.1. Strategic Communication Plan
8.8.2. When it All Goes Wrong: Crisis Communication
8.8.3. Cases

8.9. The Influence of Promotions on Corporate Image

8.9.1. The New Advertising Industry Landscape
8.9.2. Promotional Marketing
8.9.3. Features
8.9.4. Dangers
8.9.5. Promotional Types and Techniques

8.10. Distribution and Image of the Point of Sale

8.10.1. The Main Players in Commercial Distribution
8.10.2. The Image of Retail Distribution Companies through Positioning
8.10.3. Through the Name and Logo

Module 9. The Fundamentals of Graphic Design

9.1. Introduction to Design

9.1.1. Design Concept: Art and Design
9.1.2. Fields of Application of the Design
9.1.3. Design and Ecology: Ecodesign
9.1.4. Activist Design

9.2. Design and Configuration

9.2.1. The Design Process
9.2.2. The Idea of Progress
9.2.3. The Dichotomy Between Need and Desire

9.3. Introduction to Adobe Lightroom I

9.3.1. Tour of the Interface: Catalog and Preferences
9.3.2. Program Structure and Visualization
9.3.3. Structure of the library
9.3.4. File Import

9.4. Introduction to Adobe Lightroom II

9.4.1. Fast Development, Keywords and Metadata
9.4.2. Simple Collections
9.4.3. Intelligent Collections
9.4.4. Practice

9.5.  Library in Adobe Lightroom

9.5.1. Classification and Structuring Methods
9.5.2. Stacks, Virtual Copies, Files Not Found
9.5.3. Watermark and Logos
9.5.4. Export  

9.6. Revealing in Adobe Lightroom I

9.6.1. Developed Module
9.6.2. Lens Correction and Cropping
9.6.3. The Histogram
9.6.4. Calibration and Profiling

9.7. Presets

9.7.1. What are they?
9.7.2. How Are They Used?
9.7.3. What Kind of Pre-Established Settings are Saved in Lightroom Presets?
9.7.4. Search Resources

9.8. Tone in Adobe Lightroom

9.8.1. Tone Curve
9.8.2. HSL
9.8.3. Split Tones
9.8.4. Practice

9.9. Revealing in Adobe Lightroom II

9.9.1. Masks
9.9.2. Development with Brush
9.9.3. Focus and Noise Reduction
9.9.4. Vignetting
9.9.5. Red Eye and Blemish Removal

9.10. Revealing in Adobe Lightroom III

9.10.1. Transform an Image
9.10.2. Creation of Panoramic Photographs
9.10.3. HDR, What Is It? How Do We Create iI? 
9.10.4. Synchronize Settings

Module 10. A New Communication Paradigm

10.1. Media Transformation and Audience Fragmentation

10.1.1. The New Role of the Media
10.1.2. The Citizen Facing the Digital Revolution
10.1.3. Consumption and Infoxication

10.2. Media Convergence

10.2.1. Technological Convergence
10.2.2. Socio-Cultural Convergence
10.2.3. Corporate Convergence

10.3. Internet 2.0: from Monologue to Dialogue

10.3.1. The Fragmentation Process
10.3.2. The Effect of Technology
10.3.3. The Questioning of Traditional Media

10.4. Long Tail

10.4.1. Long Tail Business Models
10.4.2. Elements of a Long Tail Model

10.5. The New Prosumer

10.5.1. The Third Wave
10.5.2. Spectators vs. Influencers

10.6. Internet 2.0

10.6.1. Penetration and Usage Data
10.6.2. From Monologue to Dialogue
10.6.3. The Internet of Things

10.7. Participatory Culture

10.7.1. Features
10.7.2. Internet and Public Opinion
10.7.3. Co-Creation

10.8. Ephemeral Attention

10.8.1. Multi-Mediality
10.8.2. Multi-Tasking
10.8.3. The Collapse of Attention

10.9. Hardware: from the Black Box to the Hyperconnected Home

10.9.1. The Black Box
10.9.2. New Devices
10.9.3. Breaking Down the Digital Divide

10.10. Towards a New Television

10.10.1. Premises of the New TV
10.10.2. Self-Programming
10.10.3. Social Television

Module 11. Transmedia Storytelling, Crossmedia

11.1. Chronology of the Transmedia Concept

11.1.1. Transmedia in the Context of Contemporary Cultural Production
11.1.2. How Do we Understand Transmedia?
11.1.3. Key Elements that Make up a General Notion of Transmedia

11.2. Transmedia and Related: Multiplatform, Crossmedia, Digital Narratives, Multimodality, Transmedia Literacies, Worldbuilding, Franchising, Data Storytelling, Platformization

11.2.1. Economy of Attention
11.2.2. Transmedia and Related
11.2.3. Multimodality, Crossmedia and Transmedia

11.3. Areas of Application and Potential of Transmedia

11.3.1. Transmedia in the Cultural Industries
11.3.2. Transmedia and Organizations
11.3.3. Transmedia in Science and Education

11.4. Consumption Practices and Transmedia Culture

11.4.1. Cultural Consumption and Everyday Life
11.4.2. Platforms
11.4.3. User-Generated Content

11.5. Technologies

11.5.1. Transmedia, New Media and Technology: Early Days
11.5.2. Date:
11.5.3. The Technological Factor in Transmedia Projects

11.6. Transmedia, Between Digital and Live Experiences

11.6.1. The Value of Live Experiences
11.6.2. What Do we Understand as Experience?
11.6.3. Examples of Real-World Experiences

11.7. Transmedia and Gaming: Designing Playful Experiences

11.7.1. The Whole and the Parts: Issues to Consider When Defining the Individual Elements of a Transmedia Experience
11.7.2. The Playfulness Factor
11.7.3. Some Examples

11.8. Critical Aspects of Transmedia

11.8.1. What Can Transmedia Become?
11.8.2. Discussion
11.8.3. A Critical Look: What Challenges and Problems Do We Have to Face?

11.9. Interdisciplinary Transmedia: Roles, Profiles, Teams

11.9.1. Teamwork
11.9.2. Transmedia Competencies
11.9.3. Roles

Module 12. Transmedia Narratives

12.1. Transmedia Narratives according to Henry Jenkins

12.1.1. Henry Jenkins, Transmedia and Convergence Culture
12.1.2. Links Between Participatory Culture, Transmedia and Fan Studies
12.1.3. The 'Seven Principles' of Transmedia Storytelling

12.2. Reviews and Alternative Visions of Transmedia Narratives

12.2.1. Theoretical Perspectives
12.2.2. Perspectives on Professional Practice
12.2.3. Specific Views

12.3. Stories, Narrative, Storytelling

12.3.1. Stories, Narrative and Storytelling
12.3.2. Narrative as Structure and Practice
12.3.3. Intertextuality

12.4. Classic', Non-linear and Transmedia Narrative

12.4.1. The Narrative Experience
12.4.2. Narrative Structure in Three Acts
12.4.3. The Ideas and Comings and Goings of the 'Hero's Journey'

12.5. Interactive Narrative: Linear and Non-linear Narrative Structures

12.5.1. Interactivity
12.5.2. Agency
12.5.3. Different Non-Linear Narrative Structures

12.6. Digital Storytelling

12.6.1. Digital Narratives
12.6.2. The Origin of Digital Storytelling: Life Stories
12.6.3. Digital and Transmedia Storytelling

12.7. Anchors' Transmedia Storytelling: Worlds, Characters, Time and Timelines, Maps, Space

12.7.1. The Moment of the 'Leap
12.7.2. Imaginary Worlds
12.7.3. Public Participation

12.8. Fan Phenomenon, Canon and Transmedia

12.8.1. Role of the Fan
12.8.2. Fandom and Productivity
12.8.3. Key Concepts in the Relationship between Transmedia and Fan Culture

12.9. Audience Involvement ( Engagement Strategies, Crowdsourcing, Crowdfunding, etc.)

12.9.1. Levels of Involvement: Followers, Enthusiasts, Fans
12.9.2. The Public, the Collective, the Crowd
12.9.3. Crowdsourcing and Crowdfunding

Module 13. Transmedia Content Production

13.1. The Project Ideation Phase

13.1.1. Story
13.1.2. Platforms
13.1.3. Public

13.2. Documentation, Research, Search for references

13.2.1. Documentation
13.2.2. Successful References
13.2.3. Learning from Others
13.3. Creative Strategies: in Search of the Premise
13.3.1. The Premise
13.3.2. Necessity of the Premise
13.3.3. Coherent Projects

13.4. Platforms, Narrative and Participation. An Iterative Process

13.4.1. Creative Process
13.4.2. Connection Between the Different Parts
13.4.3. Transmedia Narratives as a Process

13.5. The Narrative Proposal: Story, Arcs, Worlds, Characters

13.5.1. The Story and Narrative Arcs
13.5.2. Worlds and Universes
13.5.3. Characters at the Center of the Story

13.6. The Optimal Format for Our Narrative: Formats and Platforms

13.6.1. The Medium and the Message
13.6.2. Platform Selection
13.6.3. Format Selection

13.7. User Experience (UX) Design Know your Audience

13.7.1. Discover your Audience
13.7.2. Levels of Participation
13.7.3. Experience and Memorability

13.8. The Transmedia Production Bible: Approach, Platforms, User Journey

13.8.1. The Transmedia Production Bible
13.8.2. Approach and Platforms
13.8.3. User Journey

13.9. The Transmedia Production Bible: Project Aesthetics, Material and Technical Requirements

13.9.1. Importance of Aesthetics
13.9.2. Possibilities and Production
13.9.3. Material and Technical Requirements

13.10. The Transmedia Production Bible: Case Studies on Business Models

13.10.1. Model Design
13.10.2. Model Adaptation
13.10.3. Cases

Module 14. Universal Transmedia Case Studies

14.1. Transmedia Originating in Film
14.2. From Letters to the Screen
14.3. Transmedia Epic Mythology and Fantasy
14.4. Fiction that Goes Beyond Comics
14.5. Video games with multiple narratives
14.6. Television Exploring New Narratives
14.7. When the Fandom Phenomenon Creates Its Own Content
14.8. Prototransmedia Originating in the Theater
14.9. Music that is Not Just Listened To
14.10. Leisure Offerings that have Jumped to Other Platforms

Module 15. Transmedia Storytelling in the Video Game Industry

15.1. A Historical Relationship: Video Games at the Beginning of Transmedia Storytelling Theories

15.1.1. Context
15.1.2. Marsha Kinder and the Ninja Turtles
15.1.3. From Pokémon to the Matrix: Henry Jenkins

15.2. Importance of the Videogame Industry in Media Conglomerates

15.2.1. Video Games as Content Generators
15.2.2. Some Figures
15.2.3. The Leap to New and Old Media

15.3. Relevance and Evolution of Video Games as a Cultural Object and as an Object of Academic Study

15.3.1. Video Games and Popular Culture
15.3.2. Consideration as a Cultural Object
15.3.3. Video Games at the University

15.4. Storytelling and Transmediality in Emerging Narratives

15.4.1. Transmedia Storytelling at the Amusement Park
15.4.2. New Considerations on Narrative
15.4.3. Emerging Stories

15.5. On the Narrative of Videogames and their Weight in Transmedia Storytelling

15.5.1. Early Discussions on Narrative and Videogames
15.5.2. The Value of Storytelling in Video Games
15.5.3. Ontology of Video Games

15.6. Videogames as Creators of Transmedia Worlds

15.6.1. The Rules of the World
15.6.2. Playable Universes
15.6.3. Inexhaustible Worlds and Characters

15.7. Crossmediality and Transmediality: The Industry's Adaptive Strategy to New Audience Demands

15.7.1. Derivative Products
15.7.2. A New Audience
15.7.3. The Leap to Transmediality

15.8. Transmedia Video Game Adaptations and Expansions

15.8.1. Industrial Strategy
15.8.2. Failed Adaptations
15.8.3. Transmedia Expansions

15.9. Video Games and Transmedia Characters

15.9.1. Traveling Characters
15.9.2. From the Narrative Medium to the Videogame
15.9.3. Out of our Control: The Leap to Other Media

15.10. Video Games and Fandom: Affective Theories and Followers

15.10.1. Cosplaying Mario
15.10.2. We are What We Play
15.10.3. Fans Take the Lead

Module 16. Transmedia Extended Reality: VR and AR

16.1. Extended Reality (XR)

16.2. XR Evolution Predictions
16.2.1. Present
16.2.2. Device Comparison
16.2.3. Future

16.3. Technical Aspects of XR

16.3.1. Types of Interactions
16.3.2. Locomotion
16.3.3. Advantages and Limitations of XR

16.4. The Importance of 5 Senses

16.4.1. Haptic Devices
16.4.2. Multisensory Devices
16.4.3. Sound on the XR

16.5. XR Project Creation Process

16.5.1. Creative Process
16.5.2. XR Profiles
16.5.3. Case Study

16.6. UX / UI Design in XR

16.6.1. Design Process
16.6.2. UX / UI in XR

16.7. New Narrative Languages of the XR: Storyliving

16.7.1. Storytelling vs. Storyliving
16.7.2. Narrative Aspects Specific to the XR
16.7.3. Transmedia Extended Reality Case Studies

16.8. XR Narrative Design: Script and Storyboarding

16.8.1. Design
16.8.2. Script
16.8.3. Storyboard

16.9. Technical Development and Tools

16.9.1. Technical Briefing Development
16.9.2. Prototyping Tools

16.10. Distribution of an XR Experience

16.10.1. MVP
16.10.2. Distribution
16.10.3. Marketing and Promotion

Module 17. Transmedia Journalism

17.1. Evolution of ICT: Traditional and New Media

17.1.1. ICTs as an Accelerator of Media Transformation
17.1.2. Digital Native Methods
17.1.3. ICT and the Not-So-Traditional Media

17.2. The Citizen as an Informant

17.2.1. The Citizen, Generator of Information
17.2.2. Limits and Limitations of Citizen Journalism

17.3. The Transmedia Journalist

17.3.1. Essential Skills and Knowledge for Transmedia Journalists
17.3.2. Transmedia Journalists for Transmedia Companies
17.3.3. Mojo Journalism

17.4. Design, Creation and Production of Transmedia News Content

17.4.1. Jenkins' Transmedia Basics Adapted to Journalism
17.4.2. The Process of Creating a Transmedia Journalistic Project

17.5. Formats in Transmedia Journalism: Video, Photo, Sound, Infographics

17.5.1. Writing Journalistic Content for Digital Media
17.5.2. Image and Audio
17.5.3. Tools for Infographics Design

17.6. Dissemination of Transmedia Journalism: Own and Earned Channels

17.6.1. Journalism and Corporate Communication
17.6.2. Broadcasting in Own Channels
17.6.3. Diffusion in Earned Media

17.7. Brand Journalism

17.7.1. Informative Writing
17.7.2. Branded Content and Journalism: Characteristics of Brand Journalism (Brand Journalism)
17.7.3. Exemplary Brand Journalism Publications

17.8. Participatory Journalism

17.8.1. The Participative Journalist
17.8.2. The Participative User
17.8.3. Blogging for Journalistic Specialization

17.9. Gamification of Journalism, Newsgames

17.9.1. A State-of-the-Art Journalistic Format
17.9.2. Subgenres
17.9.3. Classic Case Studies and Other more Innovative Serious Games

17.10. Podcast Transmedia

17.10.1. The Traditional Podcast: Audio
17.10.2. The Transmedia Podcast
17.10.3. The Branded Podcast

Module 18. Creation and Management of Digital Communities

18.1. A Virtual Community and Where We Can Create Them

18.1.1. Types of User
18.1.2. Spaces Where Virtual Communities Can Be Created
18.1.3. Special Features of these Spaces

18.2. Facebook and Instagram Community Management

18.2.1. Community Creation and Management Tools
18.2.2. Possibilities and Limits

18.3. Twitter Community Management

18.3.1. Community Creation and Management Tools
18.3.2. Possibilities and Limits

18.4. YouTube Community Management

18.4.1. Community Creation and Management Tools
18.4.2. Possibilities and Limits

18.5. Twitch Community Management

18.5.1. Community Creation and Management Tools
18.5.2. Possibilities and Limits

18.6. Management of Future Communities in Emerging Spaces: Key Points

18.6.1. Keys Points to Be Taken into Account in the Analysis of the Commented Networks
18.6.2. What Steps to Take When New Social Networks are Launched
18.6.3. Speeches and Dialogues 

18.7. How to Trigger Content Generation by Users

18.7.1. Prosumers after COVID
18.7.2. Contests, Sweepstakes and Campaigns
18.7.3. Connection with Social Networks and Transmedia 

18.8. Content Planning and Measurement I

18.8.1. Types of Content and Writing
18.8.2. Content Structuring

18.9. Content Planning and Measurement II

18.9.1. Measurement of Actions in Social Networks
18.9.2. Impact on Google
18.9.3. Decision Making

18.10. Development of Contents in Blogs and its Movement across Networks

18.10.1. The Importance of Blogging Today
18.10.2. Techniques for Content Movement across Networks
18.10.3. Crisis Resolution

Module 19. Branded Content: Brands as Publishers

19.1. The Traditional Advertising Model: Push

19.1.1. Key Aspects of Push Communication Strategies
19.1.2. Origins and Evolution
19.1.3. The Future of Push Strategies

19.2. The New Pull Model 

19.2.1. Key Aspects of Pull Communication Strategies
19.2.2. Origins and Current Context
19.2.3. Keys to Success

19.3. Branded Content

19.3.1. Branded Content, Content Marketing and Native Advertising
19.3.2. How to Identify Branded Content

19.4. Brands like Publishers: Implications

19.4.1. The New Value Chain
19.4.2. Implications
19.4.3. Models

19.5.  Branded Contentand its Role in the Communication Mix

19.5.1. Current Context
19.5.2. Branded Content and Brand Purpose
19.5.3. Inspiring Case Studies

19.6. The Coexistence of Content and Advertising

19.6.1. Differences
19.6.2. Contribution to Brand Equity
19.6.3. Examples of Coexistence

19.7. Branded Content: Formats and Genres

19.7.1. Genre
19.7.2. Other Approaches, Other Genres
19.7.3. Formats

19.8. Creation Methodology of Branded Content

19.8.1. Strategy
19.8.2. Ideation
19.8.3. Production

19.9. The Importance of Promotion in Branded Content

19.9.1. Methodology
19.9.2. Phases
19.9.3. Formats

19.10. Measuring the Effectiveness of Branded Content

19.10.1. How to Measure a BC Project
19.10.2. Qualitative and Quantitative Measurement
19.10.3. Metrics and KPIs

This program will allow you to delve into the management of digital communities on platforms such as Twitch"