All aspects of audiovisual production in Film and Television, along the most exciting and comprehensive qualification in the industry, from the online teaching market"

To work in the audiovisual sector, it is essential to have a thorough knowledge of an industry that has its own peculiarities. Throughout the various topics that make up this program, all the fields in which the audiovisual product is developed will be covered.

To this end, it is essential to cover the aspects involved in visual communication. Obviously, the image and its forms of expression are the basis of the audiovisual product, although they must participate in a complementary way with the other parts of the message. Managing communication skills is like speaking the language of this competitive industry.

But it is not only the skills that make up the visual element that are important. During the program, the characteristics of cultural journalism, knowledge of contemporary artistic movements and other topics related to the international movement in which the audiovisual product is created, produced, distributed and consumed will be covered. 

In this sense, TECH will devote special attention to the cinemas of the most diverse parts of the world, unraveling the relationship between the social and political moment and audiovisual creation. 

A compendium that will be applied to the creation of products, with a contemporary vision of what is happening right now in the television panorama in terms of formats and genres, and in terms of consumption and audiences.  

A fully up-to-date program that will allow you to learn about the past and present of audiovisual production"

This Master's Degree in Film and Television offers you the advantages of a high-level scientific, and technological program. These are some of its most notable features: 

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

A fully up-to-date program that will allow you to learn about the past and present of audiovisual production"

Our teaching staff is made up of working professionals. In this way TECH ensures to offer you the updating objective it intends. A multidisciplinary team of professors trained and experienced in different environments, who will develop theoretical knowledge in an efficient way, but, above all, will bring their practical knowledge derived from their own experience to the course: one of the differential qualities of this training.   

This mastery of the subject is complemented by the effectiveness of the methodology used in the design of this course. Developed by a multidisciplinary team of elearning experts, it integrates the latest advances in educational technology. In this way, students will be able to study with a range of convenient and versatile multimedia tools that will give them the operational skills they need for their preparation.    

The design of this program is based on Problem-Based Learning: an approach that views learning as a highly practical process. To achieve this remotely, TECH will use telepractice: with the help of an innovative interactive video system and Learning from an Expert, the student will be able to acquire the knowledge as if they were facing the scenario they are learning at that moment. A concept that will allow students to integrate and memorize what they have learnt in a more realistic and permanent way.   

A complete analysis of the factors that influence audiovisual production and its various styles and forms"

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

The syllabus of the Master's Degree is structured as a comprehensive tour through each and every one of the concepts required to understand and work in this field. With an approach focused on practical application that will help the student grow as a professional from the very first moment. 

A comprehensive syllabus focused on acquiring knowledge and converting it into real skills, created to propel you to excellence"

Module 1. Television Studios 

1.1. Television Studios 

1.1.1. Development of Television Studios 
1.1.2. Critical Perspectives Around Television 

1.2. Studying Television 

1.2.1. Introduction 
1.2.2. Industry 
1.2.3. Television and Nation 
1.2.4. Studying Programs 
1.2.5. Television and Society 
1.2.6. Television Audiences 

1.3. Television Stories Television Cultures 

1.3.1. Television Stories

1.4. Television Cultures
1.5. Television Contents 

1.5.1. Television Texts and Narratives 
1.5.2. Television Genres and Formats 

1.6. Television Realities Television Audiences

1.6.1. Television Realities 
1.6.2. Television Audiences 

1.7. Beyond Television 

1.7.1. The Television We Don't See 
1.7.2. Beyond Television 

1.8. The Television in Europe 

1.8.1. United Kingdom 
1.8.2. France 
1.8.3. Other European Television Experiences 

1.9. Television in the United States 

1.9.1. The Origins of Television in the United States 
1.9.2. The Development of Commercial Television 
1.9.3. Fragmentation Television 

1.10. The Television in Latin America 

1.10.1. The Latin American Television Model 
1.10.2. Main National Experiences 

1.11. Television in Asia and Africa 

1.11.1. The Television Model in Africa and Asia 
1.11.2. Main National Experiences 

Module 2. Film Studios 

2.1. What Is Film? Introduction and Basic Concepts I 

2.1.1. Ways of Understanding Cinema: Main Approaches 

2.2. What Is Film? Introduction and Basic Concepts II 

2.2.1. Cinematic Modes and Worlds: Documentary, Experimental, and Fiction
2.2.2. Birth and Development of Cinematographic Theories Criticism and Academia
2.2.3. Film Studies as a Discipline

2.3. Methodology, Structure and Basic Notions in Film Research 

2.3.1. Fundamentals of the Scientific Method 
2.3.2. The Scientific Method Applied to the Study of Film 
2.3.3. The Design of a Research Paper 

2.4. Realisms 

2.4.1. Classical Realisms 
2.4.2. New Realisms

2.5. Film Is Reclaiming Itself: Film D'auteur and Third Cinema 

2.5.1. Film D'auteur  
2.5.2. Third Cinema 

2.6. Formalism and Textualism I 

2.6.1. Russian Formalism: Vertov, Eisenstein
2.6.2. Textual Passion and Film as Language: Semiotics 

2.7. Formalism and Textualism II 

2.7.1. Textual Passion and Film as Language: Structuralism
2.7.2. The Post-Structuralist Reform

2.8. Representation and Culture

2.8.1. Representation and Culture in Audiovisual Media 
2.8.2. Feminism and Gender Studies, Queer Theory 

2.9. Identity Politics Theories of Reception 

2.9.1. Multiculturalism, Race and Representation 
2.9.2. Theories of Reception 

2.10. The Analysis of Contemporary Cinema 

2.10.1. The Cinema-Show 
2.10.2. Fundamentals of Contemporary Audiovisual Aesthetics 

Module 3. Theory and Techniques for Performance 

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

3.1.1. From the Literary to Technical Scripts Scale 
3.1.2. The Work Equipment 

3.2. The Elements of the Screen Layout. Construction Materials 

3.2.1. Spatial Preadaptation. Art Direction 
3.2.2. The Elements of the Screen Layout 

3.3. Pre-production. Implementation Documents 

3.3.1. Technical Script 
3.3.2. The Scenographic Plan 
3.3.3. Storyboard 
3.3.4. Planning 
3.3.5. The Shooting Schedule 

3.4. The Expressive Value of Sound 

3.4.1. Typology of Sound Elements 
3.4.2. Construction of Sound Space 

3.5. The Expressive Value of Light 

3.5.1. Expressive Value of Light 
3.5.2. Basic Lighting Techniques 

3.6. Basic Single-Camera Shooting Techniques 

3.6.1. Uses and Techniques of Single-Camera Shooting 
3.6.2. The Found FootageSubgenre. Fiction and Documentary Films 
3.6.3. Single-Camera Production in Television 

3.7. The Editing 

3.7.1. Editing as an Assemblage. Space-Time Reconstruction 
3.7.2. Non-Linear Assembly Techniques 

3.8. Post-production and Color Grading 

3.8.1. Postproduction 
3.8.2. Vertical Mounting Concept 
3.8.3. Color Correction 

3.9. Formats and Production Equipment 

3.9.1. Multi-camera Formats 
3.9.2. The Studio and the Team 

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

3.10.1. Multi-camera Techniques 
3.10.2. Some Common Formats 

Module 4. Digital Postproduction 

4.1. The Digital Video Archive 

4.1.1. Introduction 
4.1.2. The Digital Sign 
4.1.3. Basic Concepts 
4.1.4. The Digital Image 

4.2. The Photo and Video Camera: Image Capturing 

4.2.1. Traditional Capturing Process 
4.2.2. The Camera 

4.3. The Photo and Video Camera II: Image Capturing 

4.3.1. How the Camera Works 
4.3.2. Digital Composition 

4.4. Video Editing: Editing I 

4.4.1. Film End Processes 
4.4.2. Types of Editing 

4.5. Video Editing: Editing II 

4.5.1. The Editor’s Tools 
4.5.2. The Work of the Editor 

4.6. Video Editing: Post-Production 

4.6.1. From Linear to Non-Linear Editing 
4.6.2. Post-Production Digital Compositing Programs 

4.7. Sound Audio Capturing and Editing 

4.7.1. Quality and Basic Concepts 
4.7.2. Sound Editing 

4.8. Television Set Technologies 

4.8.1. Digital Television 
4.8.2. Television Editing and Post-Production Technologies 

4.9. Post-Production for Interactive Media 

4.9.1. The Interactive Multimedia Work 
4.9.2. Implementation of a Hypermedia Project 

4.10. New Technologies in Audiovisual Creation 

4.10.1. New Technologies in Audiovisual Creation 
4.10.2. Distribution in the New MulticastWorld 

Module 5. Audiovisual Production 

5.1. Audiovisual Production 

5.1.1. Introductory Concepts 
5.1.2. The Audiovisual Industry 

5.2. The Production Team 

5.2.1. The Professionals 
5.2.2. The Producer and the Script 

5.3. The Audiovisual Project 

5.3.1. Project Management 
5.3.2. Project Evaluation 
5.3.3. Presentation of Projects 

5.4. Production and Financing Modalities 

5.4.1. Financing of Audiovisual Production 
5.4.2. Modes of Audiovisual Production 
5.4.3. Resources for Pre-financing 

5.5. The Production Team and the Script Breakdown 

5.5.1. The Production Team 
5.5.2. The Breakdown of the Script 

5.6. The Shooting Areas 

5.6.1. The Locations 
5.6.2. The Scenery 

5.7. Casting and Film Contracts 

5.7.1. Casting 
5.7.2. The Casting Test 

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

5.8.1. The Work Plan 
5.8.2. The budget 

5.9. Production in Filming or Recording 

5.9.1. Preparation for Filming 
5.9.2. Filming Equipment and Means 

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

5.10.1. Editing and Post-production 
5.10.2. Balance Sheet and Operations 

Module 6. Film Script 

6.1. Writing for the Screen 

6.1.1. Introduction 
6.1.2. Models and Script Structures 

6.2. Narrate with Images 

6.2.1. The Script as Narrative Discourse 
6.2.2. The Script as Passage Writing 

6.3. The Scriptwriter 

6.3.1. From the Idea to the Script 
6.3.2. Work Methods 

6.4. The Minimum Unity of Drama 

6.4.1. The Conflict 
6.4.2. The Plot 

6.5. Characters 

6.5.1. Topics 
6.5.2. Transformation Arches 
6.5.3. Secondary Characters 

6.6. The Bible and the Dialogues 

6.6.1. The Character Bible 
6.6.2. The Dialogues 

6.7. Dramatization I 

6.7.1. Script Structure 
6.7.2. The First Act 

6.8. Dramatization I 

6.8.1. The Second Act 
6.8.2. The Third Act 

6.9. Dramatization III 

6.9.1. Narrative Resources 
6.9.2. Scenes and Sequences 

6.10. The Work Process 

6.10.1. The Fiction Script Writing Process 
6.10.2. Presentation Formats 
6.10.3. Rewriting the Script 

Module 7. Management and Promotion of Audiovisual Products

7.1. Audiovisual Distribution 

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

7.2. The Distribution Company 

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

7.3. Operating Windows, Contracts and International Sales 

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

7.4. Film Marketing 

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

7.5. Market Research in the Film Industry 

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

7.6. Social Networks and Film Promotion 

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

7.7. Audiovisual Distribution on the Internet I 

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

7.8. Audiovisual Distribution on the Internet II 

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

7.9. New Distribution Spaces 

7.9.1. Introduction 
7.9.2. The Netflix Revolution 

7.10. Film Festival 

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 
8.7.1. Factors Affecting Programming 

8.8. Television Programming Models 

8.8.1. United States and United Kingdom 
8.8.1. Spain 

8.9. The Professional Practice of Television Programming 

8.9.1. The Programming Department 
8.9.1. Programming for Television 

8.10. Audience Research 

8.10.1. Television Audience Research 
8.10.1. Audience Concepts and Ratings 

Module 9. The Audiovisual Audience 

9.1. Audiences in the Audiovisual Media 

9.1.1. Introduction 
9.1.2. The Constitution of the Audiences 

9.2. The Study of Audiences: Traditions I 

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

9.3. The Study of Audiences: Traditions II 

9.3.1. Studies on Reception 
9.3.2. Audiences for Humanistic Studies 

9.4. Hearings 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 
9.6.7. Audience Autonomy 

9.7. Hearings: The Essential Questions I 

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

9.8. Hearings: 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 Behaviour 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. Enunciation 
10.2.2. Characters 
10.2.3. Actions and Transformations 
10.2.4. The Space 
10.2.5. The Weather 

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

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