With a well cared and worked Personal Branding, you will be able to reach the most privileged positions"

Why Study at TECH?

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

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

At TECH Global University

Innovation

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

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

The Highest Standards

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

95% of TECH students successfully complete their studies.

Networking

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

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

Empowerment

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

500+ collaborative agreements with leading companies.

Talent

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

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

Multicultural Context

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

TECH students represent more than 200 different nationalities.   

Learn with the best

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

Teachers representing 20 different nationalities. 

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

Analysis

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

Academic Excellence

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

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

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

Professionals in the audiovisual sector must be constantly updating their specialist knowledge in order to keep up to date with the main developments in this industry, but, above all, to be able to successfully manage this type of companies. For this reason, TECH has designed this very complete program, in which students will find the most relevant information to put into practice during their working life. A high-level program aimed at professionals seeking excellence.  

A very complete syllabus that will be fundamental to increase your competitiveness in the management of audiovisual companies”  

Syllabus

The Advanced master’s degree in Senior Audiovisual Industry Management of TECH Global University is an intensive program that prepares the student to face challenges and business decisions at both national and international levels. Its content is designed to promote the development of managerial skills that enable more rigorous decision making in uncertain environments.  

Throughout 3,000 hours of study, students will analyze a multitude of practical cases through individual work, achieving high-quality learning that can be applied to their daily practice. It is, therefore, an authentic immersion in real business situations. .

This program deals in depth with the main areas of the audiovisual company and is designed for managers to understand business management from a strategic, international and innovative perspective.  

A plan designed for students, focused on their professional improvement and one that prepares them to achieve excellence in the field of audiovisual business management. A program that understands students’ needs and those of their company through innovative content based on the latest trends, and supported by the best educational methodology and an exceptional faculty. This will provide them with the competencies to solve critical situations in a creative and efficient way.    

This program takes place over 24 months and is divided into 18 modules: 

Module 1. Leadership, Ethics, and CSR 
Module 2. Strategic Direction and Executive Management
Module 3. People and Talent Management
Module 4. Economic and Financial Management
Module 5. Operations and Logistics Management 
Module 6. Information Systems Management
Module 7. Commercial Management, Marketing and Corporate Communication
Module 8. Innovation and Project Management
Module 9. Cultural Journalism
Module 10. Theory and Realization Technique 
Module 11. Structure of the Audiovisual System 
Module 12. Audiovisual Production  
Module 13. Fiction Production and Actors Direction
Module 14. Cultural Industries and New Communication Business Models   
Module 15. Management and Promotion of Audiovisual Products 
Module 16. Television Genres, Formats and Programming  
Module 17. The Audiovisual Audience  
Module 18. Television Scriptwriting: Programs and Fiction

Where, When and How is it Taught?

TECH offers you the possibility of taking this program completely online. Throughout the 24 months of learning, you will be able to access all the contents of this program at any time, allowing you to self-manage your study time. 

Module 1. Leadership, Ethics, and CSR 

1.1. Globalization and Governance  

1.1.1. Globalization and Trends: Internationalization of Markets
1.1.2. Economic Environment and Corporate Governance
1.1.3. Accountability 

1.2. Leadership

1.2.1. Intercultural Environment
1.2.2. Leadership and Business Management
1.2.3. Management Roles and Responsibilities

1.3. Business Ethics   

1.3.1. Ethics and Integrity
1.3.2. Ethical Behavior in Companies
1.3.3. Deontology, Ethical Codes and Codes of Conduct
1.3.4. Fraud and Corruption Prevention

1.4. Sustainability 

1.4.1. Business and Sustainable Development
1.4.2. Social, Environmental and Economic Impact 
1.4.3. The 2030 Agenda and the SDGs

1.5. Corporate Social Responsibility 

1.5.1. Corporate Social Responsibility
1.5.2. Roles and Responsibilities
1.5.3. Implementing Corporate Social Responsibility

Module 2. Strategic Direction and Executive Management

2.1. Organizational Analysis and Design

2.1.1. Organizational Culture
2.1.2. Organizational Analysis
2.1.3. Designing the Organizational Structure

2.2. Corporate Strategy 

2.2.1. Corporate Level Strategy
2.2.2. Typologies of Corporate Level Strategies
2.2.3. Determining the Corporate Strategy
2.2.4. Corporate Strategy and Reputational Image 

2.3. Strategic Planning and Strategy Formulation

2.3.1. Strategic Thinking
2.3.2. Strategic Planning and Formulation
2.3.3. Sustainability and Corporate Strategy

2.4. Strategy Models and Patterns

2.4.1. Wealth, Value and Return on Investments 
2.4.2. Corporate Strategy: Methodologies
2.4.3. Growing and Consolidating the Corporate Strategy

2.5. Strategic Management

2.5.1. Strategic Mission, Vision and Values
2.5.2. Balanced Scorecard
2.5.3. Analyzing, Monitoring and Evaluating the Corporate Strategy
2.5.4. Strategic Management and Reporting

2.6. Strategic Implementation and Execution

2.6.1. Strategic Implementation: Objectives, Actions and Impacts
2.6.2. Strategic Alignment and Supervision
2.6.3. Continuous Improvement Approach

2.7. Executive Management

2.7.1. Integrating Functional Strategies into the Global Business Strategies
2.7.2. Management Policy and Processes
2.7.3. Knowledge Management

2.8. Analyzing and Solving Cases/Problems 

2.8.1. Problem Solving Methodology
2.8.2. Case Method 
2.8.3. Positioning and Decision Making

Module 3. People and Talent Management

3.1. Organizational Behavior

3.1.1. Organizational Theory
3.1.2. Key Factors for Change in Organizations
3.1.3. Corporate Strategies, Types, and Knowledge Management

3.2. Strategic People Management

3.2.1. Job Design, Recruitment and Selection
3.2.2. Human Resources Strategic Plan: Design and Implementation
3.2.3. Job Analysis: Design and Selection of People
3.2.4. Training and Professional Development

3.3. Management and Leadership Development

3.3.1. Management Skills: 21st Century Skills and Abilities
3.3.2. Non-Managerial Skills
3.3.3. Map of Skills and Abilities
3.3.4. Leadership and People Management

3.4. Change Management

3.4.1. Performance Analysis
3.4.2. Strategic Approach
3.4.3. Change Management: Key Factors, Process Design and Management
3.4.4. Continuous Improvement Approach

3.5. Negotiation and Conflict Management  

3.5.1. Negotiation Objectives: Differentiating Elements
3.5.2. Effective Negotiation Techniques
3.5.3. Conflicts: Factors and Types
3.5.4. Efficient Conflict Management: Negotiation and Communication

3.6. Executive Communication

3.6.1. Corporate Strategy and Management Communication 
3.6.2. Internal Communication: Influence and Impact
3.6.3. Interpersonal Communication: Team Management and Skills 

3.7. Team Management and People Performance

3.7.1. Multicultural and Multidisciplinary Environment
3.7.2. Team and People Management
3.7.3. Coaching and People Performance
3.7.4. Management Meetings: Planning and Time Management

3.8. Knowledge and Talent Management

3.8.1. Identifying Knowledge and Talent in Organizations   
3.8.2. Corporate Knowledge and Talent Management Models  
3.8.3. Creativity and Innovation

Module 4. Economic and Financial Management

4.1. Economic Environment

4.1.1. Organizational Theory  
4.1.2. Key Factors for Change in Organizations  
4.1.3. Corporate Strategies, Types, and Knowledge Management

4.2. Management Accounting

4.2.1. International Accounting Framework
4.2.2. Introduction to the Accounting Cycle
4.2.3. Company Financial Statements
4.2.4. Analysis of Financial Statements: Decision-Making

4.3. Budget and Management Control

4.3.1. Budgetary Planning  
4.3.2. Management Control: Design and Objectives  
4.3.3. Supervision and Reporting  

4.4. Corporate Tax Responsibility

4.4.1. Corporate Tax Responsibility
4.4.2. Tax Procedure: A Country-Case Approach

4.5. Corporate Control Systems

4.5.1. Types of Control  
4.5.2. Regulatory Compliance   
4.5.3. Internal Auditing  
4.5.4. External Auditing

4.6. Financial Management  

4.6.1. Introduction to Financial Management  
4.6.2. Financial Management and Corporate Strategy    
4.6.3. Chief Financial Officer (CFO): Managerial Skills

4.7. Financial Planning

4.7.1. Business Models and Financing Needs
4.7.2. Financial Analysis Tools
4.7.3. Short-Term Financial Planning
4.7.4. Long-Term Financial Planning

4.8. Corporate Financial Strategy

4.8.1. Corporate Financial Investments
4.8.2. Strategic Growth: Types

4.9. Macroeconomic Context

4.9.1. Macroeconomic Analysis  
4.9.2. Economic Indicators  
4.9.3. Economic Cycle  

4.10. Strategic Financing 

4.10.1. Banking Business: Current Environment  
4.10.2. Risk Analysis and Management

4.11. Money and Capital Markets 

4.11.1. Fixed Income Market  
4.11.2. Equity Market  
4.11.3. Valuation of Companies  

4.12. Analyzing and Solving Cases/Problems

4.12.1. Problem Solving Methodology
4.12.2. Case Method

Module 5. Operations and Logistics Management 

5.1. Operations Management

5.1.1. Define the Operations Strategy
5.1.2. Supply Chain Planning and Control
5.1.3. Indicator Systems

5.2. Purchasing Management 

5.2.1. Stocks Management
5.2.2. Warehouse Management
5.2.3. Purchasing and Procurement Management

5.3. Supply Chain Management (I)

5.3.1. Costs and Efficiency of the Operations Chain
5.3.2. Change in Demand Patterns
5.3.3. Change in Operations Strategy

5.4. Supply Chain Management (II) Implementation

5.4.1. Lean Manufacturing/Lean Thinking
5.4.2. Logistics Management
5.4.3. Purchasing

5.5. Logistical Processes

5.5.1. Organization and Management by Processes
5.5.2. Procurement, Production, Distribution
5.5.3. Quality, Quality Costs and Tools
5.5.4. After-Sales Service

5.6. Logistics and Customers 

5.6.1. Demand Analysis and Forecasting
5.6.2. Sales Forecasting and Planning
5.6.3. Collaborative Planning, Forecasting and Replacement

5.7. International Logistics

5.7.1. Customs, Export and Import processes
5.7.2. Methods and Means of International Payment
5.7.3. International Logistics Platforms

5.8. Competing through Operations 

5.8.1. Innovation in Operations as a Competitive Advantage in the Company
5.8.2. Emerging Technologies and Sciences
5.8.3. Information Systems in Operations

Module 6. Information Systems Management

6.1. Information Systems Management

6.1.1. Business Information Systems
6.1.2. Strategic Decisions
6.1.3. The Role of the CIO

6.2. Information Technology and Business Strategy 

6.2.1. Company and Industry Sector Analysis
6.2.2. Online Business Models
6.2.3. The Value of IT in a Company

6.3. IS Strategic Planning  

6.3.1. The Process of Strategic Planning
6.3.2. Formulating the IS Strategy
6.3.3. Strategy Implementation Plan

6.4. Information Systems and Business Intelligence

6.4.1. CRM and Business Intelligence
6.4.2. Business Intelligence Project Management
6.4.3. Business Intelligence Architecture

6.5. New ICT-Based Business Models

6.5.1. Technology Based Business Models
6.5.2. Innovation Abilities
6.5.3. Redesigning the Value Chain Processes

6.6. e-Commerce

6.6.1. e-Commerce Strategic Plan
6.6.2. Logistics Management and Customer Service in e-Commerce
6.6.3. e-Commerce as an Opportunity for Internationalization

6.7. e-Business Strategies

6.7.1. Social Media Strategies
6.7.2. Optimizing Service Channels and Customer Support
6.7.3. Digital Regulation

6.8. Digital Business  

6.8.1. Mobile e-Commerce
6.8.2. Design and Usability
6.8.3. e-Commerce Operations

Module 7. Commercial Management, Marketing and Corporate Communication

7.1. Commercial Management 

7.1.1. Sales Management
7.1.2. Commercial Strategy
7.1.3. Sales and Negotiation Techniques
7.1.4. Management of Sales Teams

7.2. Marketing

7.2.1. Marketing and the Impact on the Company  
7.2.2. Basic Marketing Variables  
7.2.3. Marketing Plan  

7.3. Strategic Marketing Management

7.3.1. Current Trends in Marketing  
7.3.2. Marketing Tools  
7.3.3. Marketing Strategy and Communication with Customers

7.4. Digital Marketing Strategy 

7.4.1. Approach to Digital Marketing   
7.4.2. Digital Marketing Tools    
7.4.3. Inbound Marketing and the Evolution of Digital Marketing

7.5. Sales and Communication Strategy

7.5.1. Positioning and Promotion  
7.5.2. Public Relations   
7.5.3. Sales and Communication Strategy

7.6. Corporate Communication

7.6.1. Internal and External Communication  
7.6.2. Communication Departments  
7.6.3. Communication Managers: Managerial Skills and Responsibilities

7.7. Corporate Communication Strategy

7.7.1. Corporate Communication Strategy    
7.7.2. Communication Plan  
7.7.3. Press Release/Clipping/Publicity Writing

Module 8. Innovation and Project Management

8.1. Innovation

8.1.1. Macro Concept of Innovation  
8.1.2. Types of Innovation  
8.1.3. Continuous and Discontinuous Innovation  
8.1.4. Training and Innovation  

8.2. Innovation Strategy

8.2.1. Innovation and Corporate Strategy  
8.2.2. Global Innovation Project: Design and Management   
8.2.3. Innovation Workshops  

8.3. Business Model Design and Validation

8.3.1. The Lean Start-Up Methodology  
8.3.2. Innovative Business Initiative: Stages  
8.3.3. Financing Arrangements  
8.3.4. Model Tools: Empathy Map, Canvas Model and Metrics  
8.3.5. Growth and Loyalty  

8.4. Project Direction and Management

8.4.1. Innovation Opportunities   
8.4.2. Feasibility Study and Proposal Specification  
8.4.3. Project Definition and Design  
8.4.4. Project Execution  
8.4.5. Project Closure

Module 9. Cultural Journalism

9.1. Cultural Journalism in the Conventional Media and its integration in the Digital World      

9.1.1. Introduction: The Concept of Culture 
9.1.2. Art Cultural Information 
9.1.3. Cultural Information on the Performing Arts
9.1.4. Film Cultural Information   
9.1.5. Music Cultural Information
9.1.6. Cultural Information in Books

9.2. The Art of Storytelling   

9.2.1. Introduction   
9.2.2. The Origins of Cultural Information in the Press 
9.2.3. The Origins of Cultural Information in the Radio 
9.2.4. The Origins of Cultural Information in the Television 

9.3. Essential Guides to Cultural Journalism Documentation  

9.3.1. Introduction
9.3.2. General Considerations
9.3.3. Factors of Interest and Evaluation Criteria for the Elaboration of Cultural Information

9.4. The 3.0 Philosophy of Communication

9.4.1. Introduction 
9.4.2. General Sources of Cultural Information
9.4.3. Specific Sources of Audiovisual Information on Culture

9.5. Media and Social Media Management    

9.5.1. Introduction 
9.5.2. News  
9.5.3. Interview   
9.5.4. Chronicle  
9.5.5. Reportage 

9.6. Interactive Journalistic Content

9.6.1. Introduction 
9.6.2. Press Cultural Information
9.6.3. Radio Cultural Information  
9.6.4. Television Cultural Information 

9.7. Communication Paradigms

9.7.1. Introduction
9.7.2. Culture and the Internet  
9.7.3. Benefits of Culture

9.8. Web Positioning: SEO, SEM, SMO, SMM, SERM. Specialized Journalistic Content  

9.8.1. Introduction 
9.8.2. Cultural Marketing
9.8.3. How is Cultural Marketing Carried Out?  

9.9. Analysis of Culture 

9.9.1. Introduction 
9.9.2. Theoretical and Methodological Approach to Culture
9.9.3. Culture, Communication and Meaning 
9.9.4. Culture and Imaginaries 

9.10. Cyberculture and Digital Journalism of Cultural Content

9.10.1. Introduction
9.10.2. Definition of Cyberculture  
9.10.3. Digital Journalism of Cultural Contents 
9.10.4. Keys to Digital Journalism of Cultural Content

Module 10. Theory and Realization Technique 

10.1. The Realization as Construction of the Audiovisual Work. The Work Team   

10.1.1. From the Literary Script to the Technical Script or Playbill 
10.1.2. The Work Team  

10.2. The Elements of the Screen Layout Construction Materials

10.2.1. Spatial Pre-Adaptation Art Direction 
10.2.2. The Elements of the Screen Layout  

10.3. Pre-Production Implementation Documents  

10.3.1. Technical Script  
10.3.2. The Scenographic Plan 
10.3.3. The Storyboard  
10.3.4. Plan  
10.3.5. The Shooting Plan

10.4. The Expressive Value of Sound

10.4.1. Typology of Sound Elements  
10.4.2. Construction of Sound Space  

10.5. The Expressive Value of Light  

10.5.1. Expressive Value of Light
10.5.2. Basic Lighting Techniques  

10.6. Basic Single-Camera Shooting Techniques

10.6.1. Uses and Techniques of Single-Camera Filming  
10.6.2. Found Footage Subgenre Fiction and Documentary Films  
10.6.3. Single-Camera Production in Television

10.7. The Assembly

10.7.1. Mounting as an Assembly Space-Time Reconstruction
10.7.2. Non-Linear Assembly Techniques  

10.8. Post-Production and Color Grading   

10.8.1. Postproduction  
10.8.2. Vertical Assembly Concept 
10.8.3. Color Correction

10.9. Formats and Production Equipment   

10.9.1. Multi-Camera Formats 
10.9.2. The Studio and the Team  

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

10.10.1. Multi-Camera Techniques  
10.10.2. Some Common Formats

Module 11. Structure of the Audiovisual System 

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

11.1.1. Concepts of Culture Culture-Communication
11.1.2. C.I. Theory and Evolution: Typology and Models

11.2. Film Industry I

11.2.1. Main Characteristics and Agents  
11.2.2. Structure of the Cinematographic System 

11.3. Film Industry II 

11.3.1. The U.S. Film Industry  
11.3.2. Independent Production Companies  
11.3.3. Problems and Debates in the Film Industry

11.4. Film Industry III   

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

11.5. Television Industry I

11.5.1. Economic Television 
11.5.2. Founding Models  
11.5.3. Transformations

11.6. Television Industry II 

11.6.1. The U.S. Television Industry
11.6.2. Main Features  
11.6.3. State Regulation

11.7. Television Industry III 

11.7.1. Public Service Television in Europe  
11.7.2. Crises and Debates  

11.8. The Axes of Change 

11.8.1. New Processes in the Audiovisual Industry 
11.8.2. Regulatory Debates  

11.9. Digital Terrestrial Television (DTT)

11.9.1. Role of the State and Experiences
11.9.2. The New Features of the Television System 

11.10. New Operators in the Audiovisual Landscape  

11.10.1. Over-the-Top (OTT) Service Platforms
11.10.2. Consequences of its Appearance

Module 12. Audiovisual Production  

12.1. Audiovisual Production 

12.1.1. Introductory Concepts
12.1.2. The Audiovisual Industry 

12.2. The Production Team  

12.2.1. The Professionals  
12.2.2. The Producer and the Script  

12.3. The Audiovisual Project 

12.3.1. Project Management
12.3.2. Project Evaluation
12.3.3. Presentation of Projects

12.4. Production and Financing Modalities 

12.4.1. Financing of Audiovisual Production  
12.4.2. Modes of Audiovisual Production  
12.4.3. Resources for Pre-Financing  

12.5. The Production Team and The Script Breakdown 

12.5.1. The Production Team 
12.5.2. Script Breakdown

12.6. The Shooting Locations 

12.6.1. The Locations   
12.6.2. The Scenery

12.7. Casting and Filming Contracts 

12.7.1. Casting 
12.7.2. Casting Test 
12.7.3. Contracts, Rights and Insurance 

12.8. The Work Plan and Budget of the Audiovisual Work 

12.8.1. The Work Plan
12.8.2. The Budget  

12.9. Production in Filming or Recording

12.9.1. Preparation for Filming   
12.9.2. Filming Equipment and Means

12.10. Post-Production and the Final Balance of the Audiovisual Work  

12.10.1. Editing and Post-Production  
12.10.2. Balance Sheet and Operations  

Module 13. Fiction Production and Actors Direction

13.1. The Realization of Fiction    

13.1.1. Introduction 
13.1.2. The Process and its Tools  

13.2. Optics and Camera    

13.2.1. Optics and Framing  
13.2.2. Camera Movement 
13.2.3. Continuity

13.3.  Light and Color: Theoretical Aspects 

13.3.1. Exhibition
13.3.2. Color Theory  

13.4. Lighting in Films

13.4.1. Tools  
13.4.2. Lighting as Narrative  

13.5. Color and Optics   

13.5.1. Color Control 
13.5.2. Optics  
13.5.3. Image Control  

13.6. Work on the Shooting

13.6.1. The List of Plans 
13.6.2. The Team and its Functions 

13.7. Technical Issues in Film Directing  

13.7.1. Technical Resources  

13.8. The Directors' Vision 

13.8.1. Directors Take the Floor  

13.9. Digital Transformations   

13.9.1. Analog-Digital Transformations in Cinematographic Photography
13.9.2. The Reign of Digital Post-Production 

13.10. Direction of Actors  

13.10.1. Introduction  
13.10.2. Main Methods and Techniques  
13.10.3. Working with Actors

Module 14. Cultural Industries and New Communication Business Models   

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

14.1.1. Culture, Economy, Communication
14.1.2. Cultural Industries

14.2. Technology, Communication and Culture  

14.2.1. Craft Culture Commoditized  
14.2.2. From Live Performance to Visual Arts  
14.2.3. Museums and Heritage  

14.3. The Major Sectors of the Cultural Industries

14.3.1. Editorial Products
14.3.2. Flow C.I.'s   
14.3.3. Hybrid Models

14.4. The Digital Era in the Cultural Industries  

14.4.1. Digital Cultural Industries 
14.4.2. New Models in the Digital Era  

14.5. Digital Media and Media in the Digital Age   

14.5.1. The Online Press Business
14.5.2. Radio in the Digital Environment
14.5.3. Particularities of the Media in the Digital Age  

14.6. Globalization and Diversity in Culture  

14.6.1. Concentration, Internationalization and Globalization of Cultural Industries
14.6.2. The Struggle for Cultural Diversity  

14.7. Cultural and Cooperation Policies

14.7.1. Cultural Policies
14.7.2. The Role of States and Country Regions    

14.8. Musical Diversity in the Cloud  

14.8.1. The Music Industry Today 
14.8.2. The Cloud  
14.8.3. Latin/Iberoamerican Initiatives  

14.9. Diversity in the Audiovisual Industry 

14.9.1. From Pluralism to Diversity  
14.9.2. Diversity, Culture and Communication  
14.9.3. Conclusions and Suggestions  

14.10. Audiovisual Diversity on the Internet  

14.10.1. The Audiovisual System in the Internet Era   
14.10.2. Television Offerings and Diversity 
14.10.3. Conclusions  

Module 15. Management and Promotion of Audiovisual Products 

15.1. Audiovisual Distribution   

15.1.1. Introduction 
15.1.2. Distribution Players 
15.1.3. Marketing Products  
15.1.4. Audiovisual Distribution Areas   
15.1.5. National Distribution  
15.1.6. International Distribution  

15.2. The Distribution Company     

15.2.1. Organizational Structure  
15.2.2. Negotiation of the Distribution Agreement
15.2.3. International Customers

15.3. Operating Windows, Contracts and International Sales

15.3.1. Operating Windows
15.3.2. International Distribution Contracts
15.3.3. International Sales

15.4. Cinematographic Marketing

15.4.1. Film Marketing 
15.4.2. The Film Production Value Chain  
15.4.3. Advertising Media at the Service of Promotion
15.4.4. Launching Tools  

15.5. Market Research in Film 

15.5.1. Introduction
15.5.2. Pre-Production Phase 
15.5.3. Post-Production Phase
15.5.4. Commercialization Phase  

15.6. Social Media and Film Promotion 

15.6.1. Introduction  
15.6.2. Promises and Limits of Social Media 
15.6.3. Objectives and Their Measurement  
15.6.4. Promotion Calendar and Strategies
15.6.5. Interpreting What Social Media Networks Are Saying 

15.7. Audiovisual Distribution on the Internet I

15.7.1. The New World of Audiovisual Distribution
15.7.2. The Internet Distribution Process  
15.7.3. Products and Possibilities in the New Scenario
15.7.4. New Distribution Modes 

15.8. Audiovisual Distribution on the Internet II 

15.8.1. Keys to the New Scenario  
15.8.2. The Risks of Internet Distribution 
15.8.3. Video On Demand (VOD) as a New Distribution Window

15.9. New Spaces for Distribution 

15.9.1. Introduction
15.9.2. Netflix Revolution

15.10. Film Festivals 

15.10.1. Introduction
15.10.2. The Role of Film Festivals in Distribution and Exhibition  

Module 16. Television Genres, Formats and Programming  

16.1. Genre in Television 

16.1.1. Introduction  
16.1.2. Television Genres 

16.2. The Format on Television   

16.2.1. Approach to the Concept of Format   
16.2.2. Television Formats  

16.3. Create Television

16.3.1. The Creative Process in Entertainment  
16.3.2. The Creative Process in Fiction

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

16.4.1. Consolidation of the Format  
16.4.2. The Reality Television Format 
16.4.3. Reality TV News  
16.4.4. Digital Terrestrial Television and Financial Crisis

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

16.5.1. Emerging Markets  
16.5.2. Global Brands 
16.5.3. Television Reinvents Itself 
16.5.4. The Era of Globalization  

16.6. Selling the Format. Pitching

16.6.1. Sale of a Television Format 
16.6.2. Pitching

16.7. Introduction to Television Programming     

16.7.1. The Role of Programming  
16.7.2. Factors Affecting Programming  

16.8. Television Programming Models   

16.8.1. United States and United Kingdom   
16.8.2. Spain 

16.9. The Professional Practice of Television Programming  

16.9.1. The Programming Department
16.9.2. Programming for Television 

16.10. Study of Audience 

16.10.1. Television Audience Research
16.10.2. Audience Concepts and Ratings  

Module 17. The Audiovisual Audience  

17.1. Audiences in the Audiovisual Media

17.1.1. Introduction
17.1.2. The Constitution of the Audiences

17.2. The Study of Audiences: Traditions I

17.2.1. Theory of Effects  
17.2.2. Theory of Uses and Gratifications 
17.2.3. Cultural Studies  

17.3. The Study of Audiences: Traditions II

17.3.1. Studies on Reception
17.3.2. Audiences for Humanistic Studies 

17.4. Audiences from an Economic Perspective    

17.4.1. Introduction 
17.4.2. The Measurement of the Audiences

17.5. Theories of Reception

17.5.1. Introduction to the Reception Theories
17.5.2. Historical Approach to Reception Studies

17.6. Audiences in the Digital World   

17.6.1. Digital Environment 
17.6.2. Communication and Culture of Convergence  
17.6.3. The Active Nature of the Audiences  
17.6.4. Interactivity and Participation  
17.6.5. The Transnationality of Audiences  
17.6.6. The Autonomy of the Audiences

17.7. Audiences: The Essential Questions I   

17.7.1. Introduction
17.7.2. Who Are They?
17.7.3. Why Do They Consume?

17.8. Audiences: The Essential Questions II  

17.8.1. What Do They Consume?  
17.8.2. How Do They Consume?
17.8.3. What are the Effects?  

17.9. The Engagement Model I 

17.9.1. Engagement as a Metadimension of Audience Behavior
17.9.2. The Complex Assessment of Engagement  

17.10. The Engagement Model II

17.10.1. Introduction to the Dimensions of Engagement  
17.10.2. Engagement and User Experiences
17.10.3. Engagement as an Emotional Response from Audiences  
17.10.4. Engagement as a Result of Human Cognition 
17.10.5. Observable Behaviors of Audiences as an Expression ofEngagement 

Module 18. Television Scriptwriting: Programs and Fiction

18.1. Television Narrative 

18.1.1. Concepts and Limits
18.1.2. Codes and Structures  

18.2. Narrative Categories in Television 

18.2.1. The Enunciation
18.2.2. Characters 
18.2.3. Actions and Transformations  
18.2.4. The Space  
18.2.5. The Time  

18.3. Television Genres and Formats

18.3.1. Narrative Units
18.3.2. Television Genres and Formats

18.4. Fiction Formats

18.4.1. Television Fiction
18.4.2. Situation Comedy
18.4.3. Dramatic Series
18.4.4. The Soap Opera
18.4.5. Other Formats 

18.5. The Fiction Script in Television

18.5.1. Introduction 
18.5.2. The Technique  

18.6. The Drama on Television 

18.6.1. Drama Series  
18.6.2. Soap Opera    

18.7. Comedy Series

18.7.1. Introduction 
18.7.2. Sitcom  

18.8. The Entertainment Script

18.8.1. The Script, Step-by-Step
18.8.2. Writing to Say

18.9. Entertainment Script Writing

18.9.1. Script Meeting
18.9.2. Technical Script
18.9.3. Production Breakdown
18.9.4. The Playbill

18.10. Entertainment Script Design

18.10.1. Magazine
18.10.2. Humor Program 
18.10.3. Phases of the Accounting Cycle
18.10.4. Talent  Show
18.10.5. Documentaries 
18.10.6. Other Formats 

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