Possess transversal and specific skills required to successfully face the reality of cultural journalism in different fields”

The various changes in the Audiovisual Industry have occurred at a dizzying pace, feeding on social, economic and cultural movements around the world. For this reason, to be considered an expert in this sector, you will need a set of broad but specific skills in the different areas and contexts of the audiovisual sector.

For this reason, the objective of this program is clear: to provide students with the tools required to organize and manage the processes of the different work areas involved in an Audiovisual Production. With this approach in mind, we will begin by covering the concepts of industry and culture, studying cultural journalism and the way it works.

First, the technical part will be focused on project development from theoretical and practical points of view and will take the student through a journey from the idea to the staging. This approach will give you the theoretical knowledge and practical application skills that will be needed throughout the course in the different units In this way, everything you will learn will be converted into real working skills that will allow you to boost your capacity intensively. Thus, the future graduate will understand the structure of the Audiovisual System and the way in which the production of this type of content contemplates its financing and its investment valuation in terms of costs and benefits.

Another relevant aspect refers more directly to the most creative part of the sector. For this reason, the bases that determine the direction of actors in Fiction and the creation of narrative discourse will be established. This data will allow you to make further progress towards understanding the cultural industry and the new communication models that are currently being developed. In this sense, an in-depth knowledge of the new genres and formats being used in TV is indispensable. A domain that will give you the necessary perspective to position it in your own way and reach your target audience.

Furthermore, it is a 100% online Postgraduate Certificate that provides students with comfortable study and ease, wherever and whenever they want it. All they need is a device with an Internet connection to take their career one step further. A modality according to the current times with all the guarantees to position the engineer in a highly demanded sector.

Know, understand and identify the new topics of journalism, culture and web 3.0 and position yourself as a highly skilled professional"

This MBA in Audiovisual Business Management contains the most complete and up-to-date program on the market. The most important features include:

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practicing experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-assessment and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is accessible from any fixed or portable device with an Internet connection
• Supplementary documentation databases are permanently available, even after the program

Learn the basics of how the Audiovisual System works with a 100% online program"

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to prepare for real situations.

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

Acquire the capacity for theoretical and critical analysis of the organizational structures of audiovisual communication, understanding the main ideas, relating concepts and elements"

It delves into the historical, economic-political, social and technological framework in which audiovisual products are produced, distributed and consumed"

Meet the requirements that this sector demands from its executives, a program has been developed that focuses the student's profile on the area of audiovisual companies. With each module, the professional will learn about the use of social networks in cultural journalism and journalistic genres. All this, from a global point of view in areas of its application at an international quality, incorporating all the fields of work that intervene in the development of the professional in this type of work environment.

A comprehensive syllabus designed to provide you with all the tools to acquire the capacity for theoretical and critical analysis of the organizational structures of audiovisual communication" 

Module 1. Cultural Journalism

1.1. Cultural Journalism in the Conventional Media and Its integration in the Digital World
1.2. The Art of Storytelling
1.3. Essential Guides to Cultural Journalism Documentation
1.4. The 3.0 Philosophy of Communication
1.5. Media and Social Media Management
1.6. Interactive Journalistic Content
1.7. Communication Disorders
1.8. Web Positioning: SEO, SEM, SMO, SMM and SERM. Specialized Journalistic Contents

Module 2. Theory and Techniques for Performance

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

2.1.1. From the Literary to Technical Scripts Scale
2.1.2. The Work Team

2.2. The Elements of the Screen Layout. Construction Materials

2.2.1. Spatial Preadaptation. Art Direction
2.2.2. The Elements of the Screen Layout

2.3. Pre-production. Implementation Documents

2.3.1. Technical Script
2.3.2. The Scenographic Plan
2.3.3. Storyboard
2.3.4. Planning
2.3.5. The Shooting Schedule

2.4. The Expressive Value of Sound

2.4.1. Typology of Sound Elements
2.4.2. Construction of Sound Space

2.5. The Expressive Value of Light

2.5.1. Expressive Value of Light
2.5.2. Basic Lighting Techniques

2.6. Basic Single-Camera Shooting Techniques

2.6.1. Uses and Techniques of Single-Camera Shooting
2.6.2. The Found Footage Subgenre. Fiction and Documentary Films
2.6.3. Single-Camera Production in Television

2.7. The Editing

2.7.1. Editing as an Assemblage. Space-Time Reconstruction
2.7.2. Non-Linear Assembly Techniques

2.8. Post-production and Color Grading

2.8.1. Post-Production
2.8.2. Vertical Mounting Concept
2.8.3. Color Correction

2.9. Formats and Production Equipment

2.9.1. Multi-camera Formats
2.9.2. The Studio and the Team

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

2.10.1. Multi-camera Techniques
2.10.2. Some Common Formats

Module 3. Structure of the Audiovisual System

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

3.1.1. Concepts of Culture. Culture-Communication
3.1.2. C.I. Theory and Evolution: Typology and Models

3.2. Film Industry

3.2.1. Main Characteristics and Agents
3.2.2. Structure of the Cinematographic System

3.3. Film Industry

3.3.1. The U.S. Film Industry
3.3.2. Independent Production Companies
3.3.3. Problems and Debates in the Film Industry

3.4. Film Industry

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

3.5. Television Industry I

3.5.1. Economic Television
3.5.2. Founder Models
3.5.3. Transformations

3.6. Television Industry II

3.6.1. The U.S. Television Industry
3.6.2. Main Features
3.6.3. State Regulation

3.7. Television Industry III

3.7.1. Public Service Television in Europe
3.7.2. Crises and Debates

3.8. The Axes of Change

3.8.1. New Processes in the Audiovisual Industry
3.8.2. Regulatory Discussion

3.9. Digital Terrestrial Television (DTT)

3.9.1. Role of the State and Experiences
3.9.2. The New Features of the Television System

3.10 New Operators in the Audiovisual Landscape

3.10.1. Over-the-top (OTT) Service Platforms
3.10.2. Consequences of its Appearance

Module 4. Audiovisual Production

4.1. Audiovisual Production

4.1.1. Introductory Concepts
4.1.2. The Audiovisual Industry

4.2. The Production Team

4.2.1. The Professionals
4.2.2. The Producer and the Script

4.3. The Audiovisual Project

4.3.1. Project Management
4.3.2. Project Evaluation
4.3.3. Presentation of Projects

4.4. Production and Financing Modalities

4.4.1. Financing of Audiovisual Production
4.4.2. Modes of Audiovisual Production
4.4.3. Resources for Pre-financing

4.5. The Production Team and the Script Breakdown

4.5.1. The Production Team
4.5.2. The Breakdown of the Script

4.6. The Shooting Areas

4.6.1. The Locations
4.6.2. The Scenery

4.7. Casting and Film Contracts

4.7.1. Casting
4.7.2. The Casting Test

4.8. The Work Plan and the Budget of the Audiovisual Work

4.8.1. The Work Plan
4.8.2. The Budget

4.9. Production in Filming or Recording

4.9.1. Preparation for Filming
4.9.2. Filming Equipment and Means

4.10. Post-production and the Final Balance of the Audiovisual Work

4.10.1. Editing and Post-production
4.10.2. Balance Sheet and Operations

Module 5. Fiction Production and Acting Direction

5.1. The Making of Fiction

5.1.1. Introduction
5.1.2. The Process and its Tools

5.2. Optics and Camera

5.2.1. Optics and Framing
5.2.2. Camera Movement
5.2.3. Continuity

5.3. Theoretical Aspects of Light and Color

5.3.1. Exhibition
5.3.2. Color Theory

5.4. Lighting in the Cinema

5.4.1. Tools
5.4.2. Lighting as Narrative

5.5. Color and Optics

5.5.1. Color Control
5.5.2. The Optics
5.5.3. Image Control

5.6. Work on the Shoot

5.6.1. The List of Drawings
5.6.2. The Team and its Functions

5.7. Technical Issues in Film Directing

5.7.1. Technical Resources

5.8. The Vision of the Directors

5.8.1. Directors Take the Floor

5.9. Digital Transformations

5.9.1. Analog-Digital Transformations in Cinematographic Photography
5.9.2. The Reign of Digital Postproduction

5.10. Direction of Actors

5.10.1. Introduction
5.10.2. Main Methods and Techniques
5.10.3. Working with Actors

Module 6. Cultural Industries and New Communication Business Models

6.1. The Concepts of Culture, Economy, Communication, Technology

6.1.1. Culture, Economy, Communication
6.1.2. Cultural Industries

6.2. Technology, Communication and Culture

6.2.1. Craft Culture Commoditized
6.2.2. From Live Performance to Visual Arts
6.2.3. Museums and Heritage

6.3. The Major Sectors of the Cultural Industries

6.3.1. Editorial Products
6.3.2. Flow C.I.s
6.3.3. Hybrid Models

6.4. The Digital Era in the Cultural Industries

6.4.1. Digital Cultural Industries
6.4.2. New Models in the Digital Era

6.5. Digital Media and Media in the Digital Age

6.5.1. The Online Newspaper Business
6.5.2. Radio in the Digital Environment
6.5.3. Particularities of the Media in the Digital Age

6.6. Globalization and Diversity in Culture

6.6.1. Concentration, Internationalization and Globalization of Cultural Industries
6.6.2. The Struggle for Cultural Diversity

6.7. Cultural and Cooperation Policies

6.7.1. Cultural Policies
6.7.2. The Role of States and Country Regions

6.8. Musical Diversity in the Cloud

6.8.1. The Music Industry Today
6.8.2. Cloud
6.8.3. Latin/ Latin American Initiatives

6.9. Diversity in the Audiovisual Industry

6.9.1. From Pluralism to Diversity
6.9.2. Diversity, Culture and Communication
6.9.3. Conclusions and Suggestions

6.10. Audiovisual Diversity on the Internet

6.10.1. The Audiovisual System in the Internet Era
6.10.2. Television Offering and Diversity
6.10.3. Conclusions

Module 7. Management and Promotion of Audiovisual Products

7.1. Audiovisual Distribution

7.1.1. Introduction
7.1.2. Distribution Players
7.1.3. Marketing Products
7.1.4. The Audiovisual Distribution Sectors
7.1.5. National Distribution BORRAR
7.1.6. International Distribution

7.2. The Distribution Company

7.2.1. The Organizational Structure
7.2.2. Negotiation of the Distribution Agreement
7.2.3. International Customers

7.3. Operating Windows, Contracts and International Sales

7.3.1. Operating Windows
7.3.2. International Distribution Contracts
7.3.3. International Sales

7.4. Film Marketing

7.4.1. Cinema Marketing
7.4.2. The Film Production Value Chain
7.4.3. Advertising Media at the Service of Promotion
7.4.4. Launching Tools

7.5. Market Research in the Film Industry

7.5.1. Introduction
7.5.2. Pre-Production Phase
7.5.3. Post-Production Phase
7.5.4. Commercialization Phase

7.6. Social Networks and Film Promotion

7.6.1. Introduction
7.6.2. Promises and Limits of Social Networking
7.6.3. Objectives and their Measurement
7.6.4. Promotion Calendar and Strategies
7.6.5. Interpreting What the Networks Are Saying

7.7. Audiovisual Distribution on the Internet I

7.7.1. The New World of Audiovisual Distribution
7.7.2. The Internet Distribution Process
7.7.3. Products and Possibilities in the New Scenario
7.7.4. New Distribution Modes

7.8. Audiovisual Distribution on the Internet II

7.8.1. Keys to the New Scenario
7.8.2. The Dangers of Internet Distribution
7.8.3. Video on Demand (VOD) as a New Distribution Window

7.9. New Distribution Spaces

7.9.1. Introduction
7.9.2. The Netflix Revolution

7.10. Film Festivals

7.10.1. Introduction
7.10.2. The Role of Film Festivals in Distribution and Exhibition

Module 8. Television Genres, Formats and Programming

8.1. Gender in Television

8.1.1. Introduction
8.1.2. Television Genres

8.2. The Television Format

8.2.1. Approach to the Concept of Format
8.2.2. Television Formats

8.3. Create Television

8.3.1. The Creative Process in Entertainment
8.3.2. The Creative Process in Fiction

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

8.4.1. Consolidation of the Format
8.4.2. The Reality TV Format
8.4.3. News in Reality TV
8.4.4. Digital Terrestrial Television and Financial Crisis

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

8.5.1. Emerging Markets
8.5.2. Global Brands
8.5.3. Television Reinvents Itself
8.5.4. The Era of Globalization

8.6. Selling the Format. The Launch

8.6.1. Sale of a Television Format
8.6.2. The Launch

8.7. Introduction to Television Programming

8.7.1. The Role of Programming
8.7.2. Factors Affecting Programming

8.8. Television Programming Models

8.8.1. United States and United Kingdom
8.8.2. Spain BORRAR

8.9. The Professional Practice of Television Programming

8.9.1. The Programming Department
8.9.2. Programming for Television

8.10. Audience Research

8.10.1. Television Audience Research
8.10.2. Audience Concepts and Ratings

Module 9. Audiovisual Advertising

9.1. Audiences in the Audiovisual Media

9.1.1. Introduction
9.1.2. The Constitution of the Audiences

9.2. The Study of Audiences: Traditions I

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

9.3. The Study of Audiences: Traditions

9.3.1. Studies on Reception
9.3.2. Audiences for Humanistic Studies

9.4. Audiences from an Economic Perspective

9.4.1. Introduction
9.4.2. Audience Measurement

9.5. Theories of Reception

9.5.1. Introduction to Reception Theories
9.5.2. Historical Approach to Reception Studies

9.6. Audiences in the Digital World

9.6.1. Digital Environment
9.6.2. Communication and Convergence Culture
9.6.3. The Active Nature of the Audiences
9.6.4. Interactivity and Participation
9.6.5. The Transnationality of Audiences
9.6.6. Fragmented Audiences
9.9.7. Audience Autonomy

9.7. Audiences: The Essential Questions I

9.7.1. Introduction
9.7.2. Who are They?
9.7.3. Why do They Consume?

9.8. Audiences: Essential Questions II

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

9.9. The Engagement Model I

9.9.1. Engagement as a Metadimension of Audience Behavior
9.9.2. The Complex Assessment of Engagement

9.10. The Engagement Model II

9.10.1. Introduction. The Dimensions of Engagement
9.10.2. Engagement and User Experiences
9.10.3. Engagement as an Emotional Response from Audiences
9.10.4. Engagement as a Result of Human Cognition
9.10.5. Observable Behavior of Audiences as an Expression of Engagement

Module 10. Television Scriptwriting: Programs and Fiction

10.1. Television Fiction

10.1.1. Concepts and Limits
10.1.2. Codes and Structures

10.2. Narrative Categories in Television

10.2.1. The Enunciation
10.2.2. Characters
10.2.3. Actions and Transformations
10.2.4. The Space
10.2.5. Time

10.3. Television Genres and Formats

10.3.1. Narrative Units
10.3.2. Television Genres and Formats

10.4. Fiction Formats

10.4.1. Television Fiction
10.4.2. Situation Comedy
10.4.3. Drama Series
10.4.4. The Soap Opera
10.4.5. Other Formats

10.5. The Fiction Script in Television

10.5.1. Introduction
10.5.2. The Technique

10.6. Drama on Television

10.6.1. The Drama Series
10.6.2. The Soap Opera

10.7. Comedy Series

10.7.1. Introduction
10.7.2. The Sitcom

10.8. The Entertainment Script

10.8.1. The Script Step by Step
10.8.2. Writing to Say

10.9. Entertainment Script Writing

10.9.1. Script Meeting
10.9.2. Technical Script
10.9.3. Production Breakdown
10.9.4. The Play-List

10.10. Entertainment Script Design

10.10.1. Magazine
10.10.2. Comedy Program
10.10.3. Talent Show
10.10.4. Documentary
10.10.5. Other Formats

Module 11. Leadership, Ethics and Social Responsibility in Companies

11.1. Globalization and Governance

11.1.1. Governance and Corporate Governance
11.1.2. The Fundamentals of Corporate Governance in Companies
11.1.3. The Role of the Board of Directors in the Corporate Governance Framework

11.2. Leadership

11.2.1. Leadership. A Conceptual Approach
11.2.2. Leadership in Companies
11.2.3. The Importance of Leaders in Business Management

11.3. Cross-Cultural Management

11.3.1. Concept of Cross-Cultural Management
11.3.2. Contributions to the Knowledge of National Cultures
11.3.3. Diversity Management

11.4. Management and Leadership Development

11.4.1. Concept of Management Development
11.4.2. Concept of Leadership
11.4.3. Leadership Theories
11.4.4. Leadership Styles
11.4.5. Intelligence in Leadership
11.4.6. The Challenges of Today's Leader

11.5. Business Ethics

11.5.1. Ethics and Morality
11.5.2. Business Ethics
11.5.3. Leadership and Ethics in Companies

11.6. Sustainability

11.6.1. Sustainability and Sustainable Development
11.6.2. The 2030 Agenda
11.6.3. Sustainable Companies

11.7. Corporate Social Responsibility

11.7.1. International Dimensions of Corporate Social Responsibility
11.7.2. Implementing Corporate Social Responsibility
11.7.3. The Impact and Measurement of Corporate Social Responsibility

11.8. Responsible Management Systems and Tools

11.8.1. CSR: Corporate Social Responsibility
11.8.2. Essential Aspects for Implementing a Responsible Management Strategy
11.8.3. Steps for the Implementation of a Corporate Social Responsibility Management System
11.8.4. Tools and Standards of CSR

11.9. Multinationals and Human Rights

11.9.1. Globalization, Multinational Corporations and Human Rights
11.9.2. Multinational Corporations and International Law
11.9.3. Legal Instruments for Multinationals in the Field of Human Rights

11.10. Legal Environment and Corporate Governance

11.10.1. International Rules on Importation and Exportation
11.10.2. Intellectual and Industrial Property
11.10.3. International Labor Law

Module 12. People and Talent Management

12.1. Strategic People Management

12.1.1. Strategic Human Resources Management
12.1.2. Strategic People Management

12.2. Human Resources Management by Competencies

12.2.1. Analysis of the Potential
12.2.2. Remuneration Policy
12.2.3. Career/Succession Planning

12.3. Performance Evaluation and Performance Management

12.3.1. Performance Management
12.3.2. Performance Management: Objectives and Process

12.4. Innovation in Talent and People Management

12.4.1. Strategic Talent Management Models
12.4.2. Talent Identification, Training and Development
12.4.3. Loyalty and Retention
12.4.4. Proactivity and Innovation

12.5. Motivation

12.5.1. The Nature of Motivation
12.5.2. Expectations Theory
12.5.3. Needs Theory
12.5.4. Motivation and Financial Compensation

12.6. Developing High Performance Teams

12.6.1. High-Performance Teams: Self-Managing Teams
12.6.2. Methodologies for Managing High Performance Self-Managed Teams

12.7. Change Management

12.7.1. Change Management
12.7.2. Types of Change Management Processes
12.7.3. Stages or Phases in Change Management

12.8. Negotiation and Conflict Management

12.8.1. Negotiation
12.8.2. Conflict Management
12.8.3. Crisis Management

12.9. Executive Communication

12.9.1. Internal and External Communication in the Business Environment
12.9.2. Communication Departments
12.9.3. The Head of Communication of the Company. The Profile of the Dircom

12.10. Productivity, Attraction, Retention and Activation of Talent

12.10.1. Productivity
12.10.2. Talent Attraction and Retention Levers

Module 13. Economic and Financial Management

13.1. Economic Environment

13.1.1. Macroeconomic Environment and the National Financial System
13.1.2. Financial Institutions
13.1.3. Financial Markets
13.1.4. Financial Assets
13.1.5. Other Financial Sector Entities

13.2. Executive Accounting

13.2.1. Basic Concepts
13.2.2. The Company's Assets
13.2.3. The Company's Liabilities
13.2.4. The Company's Net Worth
13.2.5. The Income Statement

13.3. Information Systems and Business Intelligence

13.3.1. Fundamentals and Classification
13.3.2. Cost Allocation Phases and Methods
13.3.3. Choice of Cost Center and Impact

13.4. Budget and Management Control

13.4.1. The Budgetary Model
13.4.2. The Capital Budget
13.4.3. The Operating Budget
13.4.5. The Cash Budget
13.4.6. Budget Monitoring

13.5. Financial Management

13.5.1. The Company's Financial Decisions
13.5.2. The Financial Department
13.5.3. Cash Surpluses
13.5.4. Risks Associated with Financial Management
13.5.5. Risk Management of the Financial Management

13.6. Financial Planning

13.6.1. Definition of Financial Planning
13.6.2. Actions to Be Taken in Financial Planning
13.6.3. Creation and Establishment of the Business Strategy
13.6.4. The Cash Flow Chart
13.6.5. The Working Capital Chart

13.7. Corporate Financial Strategy

13.7.1. Corporate Strategy and Sources of Financing
13.7.2. Corporate Financing Financial Products

13.8. Strategic Financing

13.8.1. Self-financing
13.8.2. Increase in Shareholder's Equity
13.8.3. Hybrid Resources
13.8.4. Financing through Intermediaries

13.9. Financial Analysis and Planning

13.9.1. Analysis of the Balance Sheet
13.9.2. Analysis of the Income Statement
13.9.3. Profitability Analysis

13.10. Analyzing and Solving Cases/Problems

13.10.1. Financial Information on Industria de Diseño y Textil, S.A. (INDITEX)

Module 14. Commercial Management and Strategic Marketing

14.1. Commercial Management

14.1.1. Conceptual Framework of Commercial Management
14.1.2. Commercial Strategy and Planning
14.1.3. The Role of Sales Managers

14.2. Marketing

14.2.1. The Concept of Marketing
14.2.2. The Basic Elements of Marketing
14.2.3. Marketing Activities in Companies

14.3. Strategic Marketing Management

14.3.1. The Concept of Strategic Marketing
14.3.2. Concept of Strategic Marketing Planning
14.3.3. Stages in the Process of Strategic Marketing Planning

14.4. Digital Marketing and e-Commerce

14.4.1. Objectives of Digital Marketing and e-Commerce
14.4.2. Digital Marketing and the Media It Uses
14.4.3. E-Commerce. General Context
14.4.4. Categories of e-Commerce
14.4.5. Advantages and Disadvantages of e-Commerce Compared to Traditional Commerce

14.5. Digital Marketing to Reinforce a Brand

14.5.1. Online Strategies to Improve Brand Reputation
14.5.2. Branded Content and Storytelling

14.6. Digital Marketing to Attract and Retain Customers

14.6.1. Loyalty and Engagement Strategies Using the Internet
14.6.2. Visitor Relationship Management
14.6.3. Hypersegmentation

14.7. Digital Campaign Management

14.7.1. What Is a Digital Advertising Campaign?
14.7.2. Steps to Launch an Online Marketing Campaign
14.7.3. Mistakes in Digital Advertising Campaigns

14.8. Sales Strategy

14.8.1. Sales Strategy
14.8.2. Sales Methods

14.9. Corporate Communication

14.9.1. Concept
14.9.2. The Importance of Communication in the Organization
14.9.3. Type of Communication in the Organization
14.9.4. Functions of Communication in the Organization
14.9.5. Elements of Communication
14.9.6. Problems of Communication
14.9.7. Communication Scenarios

14.10. Digital Communication and Reputation

14.10.1. Online Reputation
14.10.2. How to Measure Digital Reputation?
14.10.3. Online Reputation Tools
14.10.4. Online Reputation Report
14.10.5. Online Branding

Module 15. Executive Management

15.1. General Management

15.1.1. The Concept of General Management
15.1.2. The Role of the CEO
15.1.3. The CEO and their Responsibilities
15.1.4. Transforming the Work of Management

15.2. Manager Functions: Organizational Culture and Approaches

15.2.1. Manager Functions: Organizational Culture and Approaches

15.3. Operations Management

15.3.1. The Importance of Management
15.3.2. Value Chain
15.3.3. Quality Management

15.4. Public Speaking and Spokesperson Education

15.4.1. Interpersonal Communication
15.4.2. Communication Skills and Influence
15.4.3. Communication Barriers

15.5. Personal and Organizational Communication Tools

15.5.1. Interpersonal Communication
15.5.2. Interpersonal Communication Tools
15.5.3. Communication in the Organization
15.5.4. Tools in the Organization

15.6. Communication in Crisis Situations

15.6.1. Crisis
15.6.2. Phases of the Crisis
15.6.3. Messages: Contents and Moments

15.7. Preparation of a Crisis Plan

15.7.1. Analysis of Possible Problems
15.7.2. Planning
15.7.3. Adequacy of Personnel

15.8. Emotional Intelligence

15.8.1. Emotional Intelligence and Communication
15.8.2. Assertiveness, Empathy, and Active Listening
15.8.3. Self- Esteem and Emotional Communication

15.9. Personal Branding

15.9.1. Strategies for Personal Brand Development
15.9.2. Personal Branding Laws
15.9.3. Tools for Creating Personal Brands

15.10. Leadership and Team Management

15.10.1. Leadership and Leadership Styles
15.10.2. Leadership Skills and Challenges
15.10.3. Managing Change Processes
15.10.4. Managing Multicultural Teams

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