The most successful video game companies on the market not only have great creative teams, but also top-level managers and executives. This program will help you become one of them" 

The audiovisual industry is developing in different sectors: film, television, series, etc. But there is one that is living its golden age in recent years: video games. Every year, thousands of fans look forward to being the first to play the latest games. Its premieres have come to acquire as much expectation as that of a Hollywood movie and, in fact, this industry moves millions of euros.  

For this reason, more and more people want to make their hobby their profession and are choosing to specialize in everything related to the creation of video games. In fact, in view of this great opportunity, TECH has decided to create its own video game faculty, focusing, in a single entity, all the educational programs that are essential for professionals in the sector. In this case, the institution has gone a step further, and has not only thought about the importance of designing and creating this type of entertainment, but also wants to offer a specific program on senior management. Thus, students will not only gain a broad knowledge of everything that surrounds the video games and audiovisual industries, but will also be taught to carry out business management, thanks to specific knowledge of business administration.

In this way, the combination of both fields in a single program will be an added value in their curriculum and qualifications, providing students with a general knowledge and understanding of the sector that will allow them to access relevant positions, with high salary expectations, and thanks to which they will be able to lead their companies to the highest quality standards, placing them among the best known on the market. 

The program also perfectly combines theoretical and practical content, giving each one the importance it deserves and favoring contextual learning, so that students, while studying, are confronted with cases they may encounter in real situations. Likewise, one of the main advantages of this program is that it will be studied 100% online, without the need for transfers or specific schedules, so that the student themselves can self-manage their study, planning their schedule and pace of learning, which will be very useful to be able to combine it with the rest of their daily obligations.

The most successful video games on the market belong to top-level audiovisual industries. This Advanced master’s degree will give you the opportunity to access them and rise to positions of high responsibility" 

This  Advanced master’s degree in Senior Audiovisual Industry Management contains the most complete and up-to-date educational program on the market. Its most notable features are:

• Case studies presented by experts in audiovisual the sector
• The graphic, schematic and practical contents with which they are conceived gather theoretical and practical information on those disciplines that are essential for professional practice 
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies in the management of audiovisual companies
• 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 audiovisual industry demands professionals with a high managerial profile, capable of managing companies to raise them to the highest quality standards"  

Its faculty includes professionals from the video game sector, who bring to this program the experience of their work, 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 training experience designed to train 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.

The multitude of case studies in this Advanced master’s degree will be fundamental for you to learn in a more educational and effective way"

TECH has created this video game faculty to offer you the latest content"

This TECH Advanced master’s degree, specifically for video game creators, has been designed with the specialization needs of these professionals in mind when it comes to managing their own companies or accessing senior management positions in companies in the sector. In this way, students will learn to lead teams and audiovisual projects, and will develop specific skills that will allow them to manage all departments of an audiovisual company. 

Completion of this program will open doors to a highly competitive job market"   

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, Codes of Ethics 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.  Organisational Analysis
2.1.3.  Designing the Organizational Structure

2.2.  Corporate Strategy

2.2.1.  Corporate-Level Strategy
2.2.2.  Types 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: Methodologies Strategy
2.4.3.  Growing and Consolidating the Corporate Strategy

2.5.  Strategic Management

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

2.6.  Implementing and Executing Strategy

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

2.7.  Executive Management

2.7.1.  Integrating Functional Strategies into the Global Business Strategies
2.7.2.  Executive Management and Process Development
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.  Design and Implementation of Human Resources Strategic Plan
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.  Performance Analysis
3.6.2.  Leading Change. Resistance to Change
3.6.3.  Managing Change Processes
3.6.4.  Managing Multicultural Teams

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.  Executive 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.  Executive 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 Case-Country 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.  Variable Income 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 (1)

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 (2) 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.  ECommerce 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.  Sources of Innovation
7.3.2.  Current Trends in Marketing
7.3.3.  Marketing Tools
7.3.4.  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 from 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 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 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 Implementation
8.4.5.  Project Closure

Module 9. Cultural Journalism

9.1.  Concept and Delimitations of Cultural Journalism

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 Origins of Cultural Journalism

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.  The Practice of Cultural Journalism

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 Sources of Cultural Journalism

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

9.5.  Genres in Cultural Information

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

9.6.  The Current Diversification of Cultural Information in the Press, Radio and Television

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

9.7.  Culture and Internet

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

9.8.  Cultural Marketing

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

9.9.  Image Analysis

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 Contents

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 Techniques for Performance

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

10.1.1.  From the Literary to Technical Scripts Scale
10.1.2.  The Work Equipment

10.2.  The Elements of the Screen Layout. Construction Materials

10.2.1.  Spatial Preadaptation. 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.  Storyboard
10.3.4.  Planning
10.3.5.  The Shooting Schedule

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 Shooting
10.6.2.  The Found Footage Subgenre Fiction and Documentary Films
10.6.3.  Single-Camera Production in Television

10.7.  The Editing

10.7.1.  Editing as an Assemblage. 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 Mounting 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 (CI)

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

11.2.  Film Industry

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

11.3.  Film Industry

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

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

11.5.  Television Industry I

11.5.1.  Economic Television
11.5.2.  Founder 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 Discussion

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.  The Breakdown of the Script

12.6.  The Shooting Areas

12.6.1.  The Locations
12.6.2.  The Scenery

12.7.  Casting and Film Contracts

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

12.8.  The Work Plan and the 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 Actor Management

13.1.  The Production 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.  Theoretical Aspects of Light and Color

13.3.1.  Exhibition
13.3.2.  Color Theory

13.4.  Lighting in the Cinema

13.4.1.  Tools
13.4.2.  Lighting as Narrative

13.5.  Color and Optics

13.5.1.  Color Control
13.5.2.  The Optics
13.5.3.  Image Control

13.6.  Work on the Shoot

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

13.7.  Technical Issues in Film Directing

13.7.1.  Technical Resources

13.8.  The Vision of the Directors

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 Postproduction

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 and 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 Newspaper 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.  Cloud
14.8.3.  Latin/ Latin American 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 Offering 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.  The Audiovisual Distribution Sectors
15.1.5.  National Distribution
15.1.6.  International Distribution

15.2.  The Distribution Company

15.2.1.  The 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.  Film Marketing

15.4.1.  Cinema 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 the Film Industry

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

15.6.  Social Networks and Film Promotion

15.6.1.  Introduction
15.6.2.  Promises and Limits of Social Networking
15.6.3.  Objectives and their Measurement
15.6.4.  Promotion Calendar and Strategies
15.6.5.  Interpreting What the 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 Dangers of Internet Distribution
15.8.3.  Video on Demand (VOD) as a New Window for Distribution

15.9.  New Distribution Spaces

15.9.1.  Introduction
15.9.2.  The Netflix Revolution

15.10.  Film Festival

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.  Gender in Television

16.1.1.  Introduction
16.1.2.  Television Genres

16.2.  The Television Format

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 TV Format
16.4.3.  New Developments in Reality TV
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. The Launch

16.6.1.  Sale of a Television Format
16.6.2.  The Launch

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.  Audience Research

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.  Hearings from an Economic Perspective

17.4.1.  Introduction
17.4.2.  Audience Measurement

17.5.  Theories of Reception

17.5.1.  Introduction to 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 Convergence Culture
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.  Fragmented Audiences
17.6.7.  Audience Autonomy

17.7.  Hearings: The Essential Questions I

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

17.8.  Hearings: Essential Questions II

17.8.1.  What Do They Consume?
17.8.2.  How Do They Consume?
17.8.3.  With What 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. 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 Behaviour of Audiences as an Expression of Engagement

Module 18. Television Scriptwriting: Programs and Fiction

18.1.  Television Fiction

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 Weather

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.  Drama 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.  Drama on Television

18.6.1.  The Drama Series
18.6.2.  The Soap Opera

18.7.  Comedy Series

18.7.1.  Introduction
18.7.2.  The 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 Playlist

18.10.  Entertainment Script Design

18.10.1.  Magazine
18.10.2.  Comedy Program
18.10.3.  Talent Show
18.10.4.  Documentary
18.10.5.  Other Formats

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