The specialization in audiovisual journalism will allow you to broaden your scope of action and your job opportunities"

The Advanced master’s degree in Audiovisual Journalism and Television Reportage is focused on the professional who wishes to develop professionally on the small screen, especially in the field of reportage. A profession that requires a high degree of specialization and for which there is a large number of postgraduate training courses. However, none offers you what we propose at TECH, because we are the only ones with a Professional Master's Degree that is divided into two main blocks: on the one hand, audiovisual journalism and, on the other hand, journalistic research and television reportage. 

As such, throughout the course of this program, students will learn all the current approaches to the different challenges posed by their profession. A high-level step that will become a process of improvement, not only on a professional level, but also on a personal level. And for this, our program includes everything from written journalism to the documentation process or audiovisual narrative. And, although this specialization is especially dedicated to the field of television, with a very complete syllabus on journalism and television communication, there is also space to learn about the particularities of radio, the other major audiovisual media, or the research process in television. 

In addition, we will not only take you through the theoretical knowledge we offer, but we will show you another way to study and learn, more organic, simpler and more efficient. We will work to keep you motivated and to create in you a passion for learning. And we will push you to think and develop critical thinking.  

This Advanced master’s degree is designed to give you access to the specific knowledge of this discipline in an intensive and practical way. A great value for any professional.  And in a 100% online format, thanks to which you can decide from where and when to study. Without the restrictions of fixed timetables or having to move between classrooms, this course can be combined with work and family life.

A high-level specialization, supported by advanced technological development and the teaching experience of the best professionals"

This Advanced master’s degree in Audiovisual Journalism and Television Reportage contains the most complete and up-to-date program on the market. The most important features include:

• The latest technology in e-learning software
• Intensely visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical case studies presented by practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Self organised learning which makes the course completely compatible with other commitments
• Practical exercises for self-assessment and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Content that is accessible from any fixed or portable device with an Internet connection
• Complementary resource banks that are permanently available

An educational program created for professionals who aspire to excellence that will allow you to acquire new skills and strategies in a smooth and effective way"

Our teaching staff is made up of working professionals. In this way we ensure that we deliver the educational update we are aiming for. A multidisciplinary team of professionals prepared and experienced in different environments, who will develop theoretical knowledge efficiently, but, above all, will put at the service of specialization the practical knowledge derived from their own experience.

Developed by a multidisciplinary team of e-learning experts, this Professional Master's Degree integrates the latest advances in educational technology. In this way, you will be able to study with a range of easy-to-use and versatile multimedia tools that will give you the necessary skills you need for your specialization.

The design of this program is based on Problem-Based Learning, an approach that conceives learning as a highly practical process. To achieve this remotely, we will use telepractice. With the help of an innovative, interactive video system and learning from an expert, you will be able to acquire the knowledge as if you were dealing with the case you are studying in real time. A concept that will allow you to integrate and fix learning in a more realistic and permanent way. 

A deep and complete immersion in the latest strategies and approaches to audiovisual journalism"

We have the best teaching methodology and a multitude of simulated cases that will help you prepare for real situations"

The contents of this specialisation degree have been developed by the different Professors on this course, with a clear purpose: to ensure that our students acquire each and every one of the necessary skills to become true experts in this field. The content of this course enables you to learn all aspects of the different disciplines involved in this field. A complete and well-structured program that will take you to the highest standards of quality and success.

Through a very well compartmentalized development, you will be able to access the most advanced knowledge of the moment in Audiovisual Journalism and Television Reportage"

Módulo1. Written Journalism I 

1.1. Approach to the Theory of Journalistic Genres 

1.1.1. Introduction 
1.1.2. General Approach 
1.1.3. Background, Usefulness, and Assessment Criteria 
1.1.4. Classification of Genres  
1.1.5. Differential Characteristics. First Phase: Preliminary Concepts 
1.1.6. News 
1.1.7. Differential Characteristics. Second Phase: Distinctive Features of Each Genre 
1.1.8. Another More Simplified and Universal Classification Model 
1.1.9. Future Forecasts: Genres in Digital Journalism 

1.2. The Multimedia Journalist and the Transformation of Genres 

1.2.1. Introduction 
1.2.2. A New Journalist is Born 
1.2.3. Consequences for the Journalist 
1.2.4. Difficult Separation between Stories and Comments 
1.2.5. New Journalistic Genres 
1.2.6. The Difference of Working on the Web 
1.2.7. Each Channel Requires a Different Way of Doing 
1.2.8. New Radio Physiognomy 
1.2.9. Understanding Television History 
1.2.10. A Screen for Everything 
1.2.11. A Specific Language for the Web 
1.2.12. Stephen King's Rule Number 17 

1.3. Journalistic Language 

1.3.1. Introduction 
1.3.2. Journalistic Language 
1.3.3. The Journalistic Text and its Context 
1.3.4. The Choral Language of Icons 

1.4. The News 

1.4.1. Introduction 
1.4.2. Definition 
1.4.3. Specific Qualities of the News Event 
1.4.4. Types of News 

1.5. Discursive News 

1.5.1. Introduction 
1.5.2. Preparation and Coverage 
1.5.3. Editorial Staff 
1.5.4. Parts of the News 

1.6. The Art of Quotations 

1.6.1. Introduction 
1.6.2. Quotation Functions 
1.6.3. Types of Quotations 
1.6.4. Direct Quotation Techniques 
1.6.5. When to Use Direct Quotations 

1.7. The Journalistic Narrative 

1.7.1. Introduction  
1.7.2. The Journalistic Narrative 
1.7.3. Problem in the Journalistic Narrative 

1.8. News Headlines 

1.8.1. Introduction 
1.8.2. Functions of Headlines 
1.8.3. Characteristics of Headlines 
1.8.4. Evolution of Headlines 
1.8.5. Elements of Titling in Print, Audiovisual and Digital Media 
1.8.6. Types of Headlines 

1.9. Sources in News Journalism 

1.9.1. Introduction 
1.9.2. In Search of the News 
1.9.3. Types of Sources for News Journalism 

1:10. Information Production and Production Procedures 

1.10.1. Introduction 
1.10.2. Organization of Work 
1.10.3. Marketing 
1.10.4. Some Accounting Aspects 
1.10.5. The Image of the Newspapers 
1.10.6. Newspaper Redesign 

Module 2. Written Journalism II 

2.1. Interpretation and Theory of Journalistic Genres 

2.1.1. Introduction 
2.1.2. Interpretation, a Journalistic Task 
2.1.3. The "Martínez Albertos Typology"
2.1.4. Other Finalist Rankings  
2.1.5. Objectivity, a Classifying Criteria 
2.1.6. Are Facts Sacred and Opinions Free? 

2.2. The Journalistic Chronicle (I). Origins and Definition  

2.2.1. Introduction 
2.2.2. Definition of Chronicle 
2.2.3. The Chronicle in the Digital Era 
2.2.4. Typology of the Chronicle 

2.3. The Journalistic Chronicle (II). Headlines, Headings and Stylistic Resources 

2.3.1. Introduction 
2.3.2. The Headline of the Chronicles 
2.3.3. Types of Headings 
2.3.4. The Body: Main Stylistic Resources 

2.4. The Journalistic Chronicle (II). Headlines, Headings and Stylistic Resources 

2.4.1. Introduction 
2.4.2. Events and Judicial Chronicle 
2.4.3. The Parliamentary Chronicle 
2.4.4. Democratic Spain 
2.4.5. The Chronicle of Shows 
2.4.6. The Sports Chronicle 

2.5. The Reportage (I). Definition, Origins and Typology 

2.5.1. Introduction 
2.5.2. Definition 
2.5.3. The Origin of Reportage: its Precedents 
2.5.4. The «Interpretive Report» 
2.5.5. Style and Differential Characteristics of the Reportage 
2.5.6. The Reportage in Digital Format 
2.5.7. Types of Reportages 
2.5.8. Digital Typology 

2.6. The Reportage (II). Idea, Approach and Research 

2.6.1. Introduction 
2.6.2. Poor Pedagogy of the Reportage 
2.6.3. The Reporting Project: The Idea and the Approach 
2.6.4. Research: Collection, Selection and Ordering of Data 
2.6.5. When to Use Direct Quotations 

2.7. The Reportage (III). Structure and Writing 

2.7.1. Introduction  
2.7.2. Style and Structure, the Keys of the Reportage 
2.7.3. Titling of the Reportage 
2.7.4. Lead of the Reportage 
2.7.5. Body of the Reportage 

2.8. The Interview(I). Definition, Origin and Main Milestones 

2.8.1. Introduction 
2.8.2. Definition of Interview 
2.8.3. Historical Origin of the Interview: Dialogues 
2.8.4. The Evolution of the Interview 

2.9. The Interview (II). Typology, Preparation and Implementation 

2.9.1. Introduction 
2.9.2. Types of Interviews 
2.9.3. The Interviewing Process 

2:10. The Interview (III). Organization of Material and Writing 

2.10.1. Introduction 
2.10.2. Transcription and Preparation of the Material Obtained 
2.10.3. Titling of the Interview 
2.10.4. Errors in the Title 
2.10.5. The Lead 
2.10.6. Body of the Interview 

Module 3. Informative Documentation 

3.1. Introduction to Documentation as a Science 
3.1.1. Introduction 
3.1.2. The Information and Knowledge Society 
3.1.3. Information and Documentation 
3.1.4. Definition of Documentation 
3.1.5. The Birth of Documentation as a Science 
3.1.6. Documentation Centers 

3.2. History and Characteristics of Informative Documentation  

3.2.1. Introduction 
3.2.2. History of Informative Documentation 
3.2.3. General Characteristics of Informative Documentation 
3.2.4. Principles of Informative Documentation 
3.2.5. Functions of Informative Documentation 

3.3. The Journalistic Chronicle (II). Headlines, Headings and Stylistic Resources 

3.3.1. Introduction 
3.3.2. The Headline of the Chronicles 
3.3.3. Types of Headings 
3.3.4. The Body: Main Stylistic Resources 
3.3.5. Reference Works: Concept and Classification 

3.4. Documentary Analysis I 

3.4.1. Introduction 
3.4.2. The Documentary Chain 
3.4.3. Documentary Selection 
3.4.4. Documentary Analysis 
3.4.5. Cataloging 
3.4.6. Documentary Description and Bibliographic Entry 

3.5. Documentary Analysis II 

3.5.1. Introduction 
3.5.2. Classification 
3.5.3. Indexing 
3.5.4. Summary 
3.5.5. Documentary Reference 
3.5.6. Documentary Languages 

3.6. Information Retrieval and Databases 

3.6.1. Introduction 
3.6.2. Information Retrieval 
3.6.3. Database Management Systems 
3.6.4. Interrogation Languages and Search Equations 
3.6.5. Information Retrieval Evaluation 
3.6.6. Data Bases 

3.7. Photographic Documentation 

3.7.1. Introduction  
3.7.2. Photography 
3.7.3. The Photographic Document 
3.7.4. Criteria for Photographic Selection 
3.7.5. Documentary Analysis of the Photographs 

3.8. Radio Documentation  

3.8.1. Introduction 
3.8.2. Characteristics of the Sound Document 
3.8.3. Typology of Radio documents 
3.8.4. The Radiophonic Archives 
3.8.5. Documentary Analysis of Sound Information 
3.8.6. The Informative Documentation in the Radio 

3.9. Audiovisual Documentation  

3.9.1. Introduction 
3.9.2. The Audiovisual Document 
3.9.3. Television Documentation 
3.9.4. Documentary Analysis of the Moving Image 
3.9.5. Cinematographic Documentation 

3:10. Documentation in the Written and Digital press and in Communication Offices

3.10.1. Introduction 
3.10.2. The Basic Documentation Service in the Written Media 
3.10.3. The Documentation Process in Digital Media 
3.10.4. The Documentation Service in the Digital Newsroom 
3.10.5. Documentation in Communication Departments 

Module 4. Publication Design 

4.1. Manual Communication Technology and Written Information 

4.1.1. Introduction 
4.1.2. The Initial Forms of Writing 
4.1.3. The Supports of Manual Writing 
4.1.4. Levels of Graphic Representation in Early Writing 
4.1.5. General Classification of Writing Signs  
4.1.6. The Birth and Development of the Alphabet: The Independence of the Written Sign 
4.1.7. Writing, Information Memory 
4.1.8. The Forms of the Latin Alphabetic Writing: Diachronic Observation 
4.1.9. Images in the World of Handwriting 

4.2. Printing System 

4.2.1. Introduction
4.2.2. From Manual Reproduction to Mechanized Reproduction of Handwriting 
4.2.3. Imitation, Common Denominator of the First Mechanical Copies of Information 
4.2.4. Background of the Mechanized Reproduction of Information in Antiquity 
4.2.5. Xylography, the Closest Precedent to Gutenberg's Technology 
4.2.6. Pre-Existing Knowledge and Technological Elements Necessary for Gutenberg's Printing Press
4.2.7. The Gutenberg Printing Press 
4.2.18. The Development of the Phases of Composition and Printing of Written Information 

4.3. Forms and Functions of the Elements of Journalistic Design 

4.3.1. Introduction 
4.3.2. What Is Journalistic Design of Written Communication and Information 
4.3.3. The Elements of Journalistic Design 

4.4. Images 

4.4.1. Introduction 
4.4.2. Journalistic Images 
4.4.3. Infographics: Nature, Characteristics, Functions and Forms
4.4.4. Non-Textual and Non-Iconic Graphic Resources 

4.5. Color 

4.5.1. Introduction 
4.5.2. Nature, Function and Processes of Color Synthesis 
4.5.3. Color Separation in Graphic Arts 
4.5.4. Functions and Expressive Possibilities of Color in a Written Medium
4.5.5. Spot Color Characteristics 

4.6. Typefaces: Identity and Use 

4.6.1. Introduction  
4.6.2. What Is Typography 
4.6.3. Character Morphology: Semantic Implications
4.6.4. Classifications of Typographic Characters 
4.6.5. The Functions of Typography 
4.6.6. Computer Typography 

4.7. Formats and Journalistic Information Design 

4.7.1. Introduction 
4.7.2. Diachronic Evolution of the Journalistic Design of Print Media 
4.7.3. The Format, the First Spatial Circumstance 
4.7.4. The Distribution and Architecture of the Page Space 
4.7.5. Modular Design 
4.7.6. The Gutenberg Diagram 
4.7.7. The VIC 

4.8. Journalistic Design and Communication Order and Hierarchy 

4.8.1. Introduction 
4.8.2. The Fundamental Objective of Journalistic Design 
4.8.3. Criteria for the Distribution of Information 
4.8.4. Basic Page Layout Structures 
4.8.5. Balance Systems in the Expression of Informative Significance 
4.8.6. Basic Principles Applicable in Journalistic Design 
4.8.7. The Front Page 
4.8.8. The Inside Pages of the Newspaper 

4.9. Technological Change in Communication Processes 

4.9.1. Introduction 
4.9.2. The Technological Change in Communication and Written Information Processes Immediately Prior to Digitization 
4.9.3. Digitization, a Change of Gear in the Development of Written Communication and Information 

4:10. Digital Mediation in Today's Journalism 

4.10.1. Introduction 
4.10.2. Digital Mediation in Today's Journalism 
4.10.3. Written Information in Digital Publishing Journalism 

Module 5. Audiovisual Narrative 

5.1. The Audiovisual Narrative 

5.1.1. Introduction 
5.1.2. Fundamental Concepts of Audiovisual Narrative 
5.1.3. A Methodological Approach  
5.1.4. Particularities of Audiovisual Discourse 
5.1.5. Audiovisual Language 
5.1.6. The Image 
5.1.7. Sound 

5.2. The Discourse and the Enunciating Stages 

5.2.1. Introduction 
5.2.2. The Functions of the Narrative 
5.2.3. The Construction of the Narrative Text 
5.2.4. The Enunciating Instances 
5.2.5. Typologies of Narrators 
5.2.6. Focalization 
5.2.7. The Narrator 

5.3. The Story and the Axes of the Narrative 

5.3.1. Introduction 
5.3.2. The History 
5.3.3. The Narrative Action 
5.3.4. Time 
5.3.5. The Space 
5.3.6. Sound 

5.4. The Construction of the Audiovisual Discourse: the Script 

5.4.1. Introduction 
5.4.2. The Script 
5.4.3. The Idea 
5.4.4. The Genres 

5.4.4.1. Fantastic and Horror Films 
5.4.4.2. War Films 
5.4.4.3. Comedy Films 
5.4.4.4. The Musical 
5.4.4.5. Documentaries 

5.4.5. Characters and Dialogue 
5.4.6. The Literary Script vs. The Technical Script 

5.5. Theory and Analysis of Film Editing 

5.5.1. Introduction 
5.5.2. Assembly Definition 
5.5.3. The Basic Units of Film Narrative 
5.5.4. First Theoretical Approaches 
5.5.5. Types of Montage 
5.5.6. Invisible Mounting: The Raccord. Glossary on Mounting 

5.6. The Cinematographic Narration: From the Origins to the Post-Modernity

5.6.1. Introduction 
5.6.2. The Origins of Cinema 
5.6.3. The Cinema of the Origins: The Space-Time Articulation 
5.6.4. The Avant-Garde and The Cinema 
5.6.5. The Hollywood Cinema 
5.6.6. The Art Cinema and The Essay 
5.6.7. Contemporary Cinema 

5.7. Computer Cinema: From Newsreels to Documentaries 

5.7.1. Introduction  
5.7.2. Informative Cinema 
5.7.3. The Cinematographic Newsreels 
5.7.4. Documentaries 
5.7.5. The Informative Fiction Cinema 
5.7.6. The Value of Newsreels as a Historical Source 

5.8. Television Discourse: Information and Entertainment 

5.8.1. Introduction 
5.8.2. Television Discourse 
5.8.3. Narratology of Audiovisual Information 
5.8.4. Audiovisual Information Genres 
5.8.5. Infotainment 
5.8.6. Entertainment Programs 
5.8.7. Fiction Television Storytelling 

5.9. Audiovisual Advertising Discourse: Spots, Trailers and Video Clips 

5.9.1. Introduction 
5.9.2. Advertising Narrative in the Audiovisual Media 
5.9.3. Spot 
5.9.4. Trailer 
5.9.5. Videoclip 

5:10. New Media and Narrative Structures in the Digital Era 

5.10.1. Introduction 
5.10.2. The Digital Paradigm 
5.10.3. The New Media of the 21st Century 
5.10.4. New Media Practices 
5.10.5. The Post-Media Condition 

Module 6. Television Communication 

6.1. The Message on Television  

6.1.1. Introduction 
6.1.2. The Message on Television 
6.1.3. TV as the Union of Dynamic Image and Audio 

6.2. History and Evolution of the Television Media 

6.2.1. Introduction
6.2.2. Origin of the Television Medium 
6.2.3. History and Evolution in the World of Television Media 

6.3. Television Genres and Formats 

6.3.1. Introduction 
6.3.2. Television Genres 
6.3.3. Format on Television 

6.4. The Script on Television 

6.4.1. Introduction 
6.4.2. Types of Scripts 
6.4.3. Role of the Script in Television 

6.5. Television Programming 

6.5.1. Introduction 
6.5.2. History 
6.5.3. Block Programming 
6.5.4. Cross Programming 
6.5.5. Counterprogramming 

6.6. Language and Narration in Television 

6.6.1. Introduction  
6.6.2. Language in Television 
6.6.3. Television Narration 

6.7. Speech and Expression Techniques  

6.7.1. Introduction 
6.7.2. Speech Techniques 
6.7.3. Expression Techniques 

6.8. Creativity in Television 

6.8.1. Introduction 
6.8.2. Creativity in Television 
6.8.3. The Future of Television 

6.9. Production 

6.9.1. Introduction 
6.9.2. Television Production 
6.9.3. Pre-Production 
6.9.4. Production and Recording 
6.9.5. Postproduction 

6:10. Digital Technologies and Techniques in Television 

6.10.1. Introduction 
6.10.2. The Role of Technology in Television 
6.10.3. Digital Techniques in Television 

Module 7. Television Journalism 

7.1. Organization of the Newsroom and News Coverage 

7.1.1. Introduction 
7.1.2. Organization in a Television Newsroom 
7.1.3. Posts 
7.1.4. News Coverage 

7.2. Non-Daily News 

7.2.1. Introduction
7.2.2. Non-Daily News 

7.2.2.1. Weekend News Programs 
7.2.2.2. Exceptional News Programs 

7.3. Daily News Programs 

7.3.1. Introduction 
7.3.2. Daily News Programs 
7.3.3. Types of News Programs 

7.3.3.1. Highlights 
7.3.3.2. Daily News Program 
7.3.3.3. Talk Shows 
7.3.3.4. Infotainment 

7.4. The Chronicle, the Report and the Interview 

7.4.1. Introduction 
7.4.2. The Chronicle 
7.4.3. Types of Reportage 
7.4.4. Types of Interviews 

7.5. The Studio's inlet 

7.5.1. Introduction 
7.5.2. The Study Nodding 
7.5.3. Audiovisual Entrances 

7.6. Programs According to Formats. Magazines and Reality-Show 

7.6.1. Introduction  
7.6.2. Definition of Magazine 
7.6.3. Definition of Reality - Show 

7.7. Specialized Programs According to Content 

7.7.1. Introduction 
7.7.2. Specialized Journalism 
7.7.3. Specialized Programs 

7.8. Television Production 

7.8.1. Introduction 
7.8.2. Television Production 
7.8.3. Pre-Production 
7.8.4. Filming 
7.8.5. Control of Realization 

7.9. Treatment of Live and Deferred Information 

7.9.1. Introduction 
7.9.2. Treatment of Live Information 
7.9.3. Treatment of Deferred Information 

7:10. Editing Techniques 

7.10.1. Introduction 
7.10.2. Television Editing Techniques 
7.10.3. Types of Editing 

Module 8. Radio Communication 

8.1. History of Broadcasting 
8.1.1. Introduction 
8.1.2. Origins 
8.1.3. Orson Welles and "The War of the Worlds" 
8.1.4. Radio in the World 
8.1.5. The New Radio 

8.2. Current Overview of the Radio in Latin America 

8.2.1. Introduction
8.2.2. Radio History in Latin America 
8.2.3. Currently 

8.3. Radio Language 

8.3.1. Introduction 
8.3.2. Characteristics of Radio Communication 
8.3.3. Elements that Make Up the Radio Language 
8.3.4. Characteristics of the Construction of Radiophonic Texts 
8.3.5. Characteristics of Radiophonic Text Writing 
8.3.6. Glossary of Terms Used in Radiophonic Language 

8.4. The Radio Script Creativity and Expression 

8.4.1. Introduction 
8.4.2. Radio Script 
8.4.3. Basic Principles in the Development of a Script

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

8.5.1. Introduction 
8.5.2. Production and Realization 
8.5.3. Radio Voice-Over 
8.5.4. Peculiarities of Radio Voice-Over 
8.5.5. Practical Breathing and Voice-Over Exercises 

8.6. Improvisation in Broadcasting  

8.6.1. Introduction  
8.6.2. Peculiarities of the Radio Media 
8.6.3. What is Improvisation? 
8.6.4. How is Improvisation Carried Out? 
8.6.5. Sports Information in Radio. Characteristics and Language
8.6.6. Lexical Recommendations 

8.7. Radio Genres 

8.7.1. Introduction 
8.7.2. Radio Genres 

8.7.2.1. The News 
8.7.2.2. The Chronicle 
8.7.2.3. The Report 
8.7.2.4. The Interview 

87.3. The Round Table and the Debate 

8.8. Radio Audience Research 

8.8.1. Introduction 
8.8.2. Radio Research and Advertising Investment 
8.8.3. Main Research Methods 
8.8.4. General Media Study 
8.8.5. Summary of the General Media Study 
8.8.6. Traditional Radio vs. Online Radio 

8.9. Digital Sound 

8.9.1. Introduction 
8.9.2. Basic Concepts about Digital Sound 
8.9.3. History of Sound Recording 
8.9.4. Main Digital Sound Formats 
8.9.5. Digital Sound Editing Audacity 

8.10. New Radio Operator 

8.10.1. Introduction 
8.10.2. New Radio Operator 
8.10.3. The Formal Organization of Broadcasters 
8.10.4. The Task of the Editor 
8.10.5. The Content Gathering 
8.10.6. Immediacy or Quality? 

Module 9. Broadcast Journalism 

9.1. History of Radio 

9.1.1. History of Radio Information in the World 
9.1.2. Origin 
9.1.3. Evolution of Radio Information

9.2. From Literary Genres to Radio Genres 

9.2.1. Introduction
9.2.2. The Rationale of the Genres 
9.2.3. From Literary Genres to Radio and Journalistic Genres 
9.2.4. Classification of Radio Genres 

9.3. Reports 

9.3.1. Introduction 
9.3.2. News as Raw Material 
9.3.3. Types of Informative Programs 

9.4. Sports as a Radio Genre 

9.4.1. Introduction 
9.4.2. History 
9.4.3. Sport Formats 
9.4.4. The Future of Sports on the Radio 

9.5. Audience Participation Programs 

9.5.1. Introduction 
9.5.2. Reasons for the Success of Participation as a Radio Genre 
9.5.3. Types of Participation Genres 

9.6. Dramatic 

9.6.1. Introduction  
9.6.2. The Subgenres 
9.6.3. The Technique 

9.7. Musical 

9.7.1. Introduction 
9.7.2. History of the Musical Genre 
9.7.3. Subgenres 

9.8. Magazine 

9.8.1. Introduction 
9.8.2. Magazine 
9.8.3. Specialized Magazines 

9.9. History of Advertising 

9.9.1. Introduction 
9.9.2. History of Advertising 
9.9.3. Types of Advertising 

9:10. Advertising as a Radio Genre 

9.10.1. Introduction 
9.10.2. Advertising on the Radio 
9.10.3. Advertising as a Radio Genre 
9.10.4. The Radio Advertising Phenomenon in the Communication Process 

Module 10. Digital Journalism and Social Networks 

10.1. New Professional Profiles 

10.1.1. Introduction 
10.1.2. From the Traditional Company to the Digital Company 
10.1.3. The New 2.0. Professionals 
10.1.4. The Era of Bloggers 

10.2. Organization of Digital Information 

10.2.1. Introduction
10.2.2. Usability in the Digital Environment 
10.2.3. Tags and Metadata 
10.2.4. Search Engine Optimization (SEO and SEM) 

10.3. Web Content Architecture 

10.3.1. Introduction 
10.3.2. Cover Structure 
10.3.3. Menu 
10.3.4. Headline 
10.3.5. Body 

10.4. Journalistic Blogging and Wikis 

10.4.1. Introduction 
10.4.2. The Journalistic Blog 
10.4.3. Structure of the Post 
10.4.4. Labels 
10.4.5. Comments 
10.4.6. Wikis 

10.5. Microblogging and Journalism 

10.5.1. Introduction 
10.5.2. Twitter 
10.5.3. Twitter Fonts 

10.6. Social Platforms and Journalism 

10.6.1. Introduction  
10.6.2. Social Networks and Journalism 
10.6.3. Social Content Integration 
10.6.4. Writing Techniques in Social Networks 

10.7. Writing on the Screen 

10.7.1. Introduction 
10.7.2. The ABCs of Screen Reading 
10.7.3. Adaptation of Text to Web Format 
10.7.4. The Headline in Digital Content 

10.8. Hypertext and Multimedia Writing 

10.8.1. Introduction 
10.8.2. Hypertextuality in Digital Writing 
10.8.3. Multimedia Formats 

10.9. Cyber Journalistic Genres 

10.9.1. Introduction 
10.9.2. Definition 
10.9.3. Informative 
10.9.4. Interpretive Genres 
10.9.5. Opinion 

10.10. Legal Aspects on the Internet 

10.10.1. Introduction 
10.10.2. Legal Liability on the Internet 
10.10.3. Online Reputation Management 
10.10.4. Sharing Content on the Internet

Module 11. Introduction to Investigative Journalism 

11.1. Investigative Journalism Legality and Transparency 

11.1.1. History of Investigative Journalism 

11.1.1.1. Background 
11.1.1.2. Present Day of Investigative Journalism 
11.1.1.3. Changing Scenario of Investigative Journalism 
11.1.1.4. Data Journalism 

11.1.2. Process of Investigative Journalism 

11.1.2.1. Identification of the Object of Study 
11.1.2.2. Teaching 
11.1.2.3. Search and Selection of Research Sources 
11.1.2.4. Editorial Staff 
11.1.2.5. Publication 

11.1.3. Right to Public Information 
11.1.4. Transparency and Open Government 
11.1.5. Open data and Big Data 
11.1.6. Investigative Journalism Regulations 
11.1.7. Legislation, Ethics and Citizen Participation 

11.2. Secondary Sources of Information 

11.2.1. What are Secondary Sources? 
11.2.2. Reliability of Sources 
11.2.3. Spanish Sources 
11.2.4. European Sources 
11.2.5. Latin American Sources 
11.2.6. Other International Sources 

11.3. Precision Journalism 

11.3.1. Principles of Precision Journalism 
11.3.2. Transparency and Freedom of Access to Information 
11.3.3. Computer Access to Databases in Investigative Journalism 
11.3.4. Pragmatic Conflicts Between Freedom of Access to Information and Privacy 
11.3.5. Sociological Techniques of Accuracy Journalism 

11.4. Civic Journalism 

11.4.1. What is Civic Journalism? 
11.4.2. Difference between "Civic Journalism" and "Citizen Journalism" 
11.4.3. Examples of Civic Journalism 
11.4.4. Limitations and Real Risks of Civic Journalism 

11.5. Data Journalism Statistics for this Type of Journalism

11.5.1. Basic Statistical Concepts for Journalism 
11.5.2. Measures of Central Tendency 
11.5.3. Measures of Dispersion 
11.5.4. Graphs 

11.6. Digital Storytelling in Journalism 

11.6.1. Journalism in the Digital Era 
11.6.2. Writing on the Internet. New professional profiles 
11.6.3. Writing on the Screen 
11.6.4. Social Networks 
11.6.5. Cyberculture and Cyberdemocracy 

11.6.5.1. Transformation of the Media Environment 

11.6.6. Genres of Cyberjournalism 

11.6.6.1. Hypertext 
11.6.6.2. Sound 
11.6.6.3. Videos 
11.6.6.4. Photography
11.6.6.5. HTML 

11.6.7. New Communication Business Models in the Digital Environment 

11.7. Journalism and Social Networks 

11.7.1. History of Social Networks 
11.7.2. Impact of Social Networks on Traditional Journalistic Activity
11.7.3. Journalism i Social Networks 
11.7.4. Verification of Content in Social Networks 
11.7.5. Main Social Networks 

11.8. New trends in Journalism in the Field of Content 

11.8.1. More Social Networks 
11.8.2. Predominance of Photography and Video 
11.8.3. Specialization  
11.8.4. “Fake News” and How To Deal With It 
11.8.5. Commercialization of Digital Content 

11.9. Emerging Journalistic Profiles 

11.9.1. Multimedia Reportage 
11.9.2. Immersive/360 Degree Journalism 
11.9.3. Engagement in the Media 
11.9.4. Big Data and Data Journalism 
11.9.5. Future Emerging Journalistic Profiles 

11.10. Research for the Optimization of Resources in the Multimedia Company within the Network-Society

11.10.1. Network Society and Digital Transformation 
11.10.2. Strategies for New Organizational Structures 
11.10.3. Organizational Complexity and Evolution 
11.10.4. The Multimedia Company 
11.10.5. The Importance of Multimedia Content 
11.10.6. Multimedia Applications in the Enterprise 

Module 12. Research Methodology  

12.1. Basic Notions of Investigation: Science and the Scientific Method 

12.1.1. Definition of the Scientific Method 
12.1.2. Analytical Method 
12.1.3. Synthetic Method 
12.1.4. Inductive Method 
12.1.5. Cartesian Thought 
12.1.6. Rules of the Cartesian Method 
12.1.7. Methodical Doubt 
12.1.8. The First Cartesian Principle 
12.1.9. Induction Procedures According to J. Mill Stuart 

12.2. The General Process of Research: Quantitative and Qualitative Focus 

12.2.1. Epistemological Assumptions 
12.2.2. Approach to Reality and the Object of Study 
12.2.3. Subject-Object Relationship 
12.2.4. Objectivity 
12.2.5. Methodological Processes 
12.2.6. Integration of Methods 

12.3. Research Paradigms and Methods Derived from These 

12.3.1. How do Research Ideas Arise? 
12.3.2. What is there to Research in Education? 
12.3.3. Research Problem Statement 
12.3.4. Background, Justification and Research Objectives 
12.3.5. Theoretical Foundation 
12.3.6. Hypotheses, Variables and Definition of Operational Concepts 
12.3.7. Choosing a Research Design 
12.3.8. Sampling in Quantitative and Qualitative Studies 

12.4. Phases and Stages of Qualitative Research 

12.4.1. Phase 1 Conceptual Phase 
12.4.2. Phase 2 Planning and Design Phase 
12.4.3. Phase 3 Empirical Phase 
12.4.4. Phase 4 Analytical Phase 
12.4.5. Phase 5 Diffusion Phase 

12.5. Types of Quantitative Research 

12.5.1. Historical Research 
12.5.2. Correlation Research 
12.5.3. Case Studies 
12.5.4. "Ex Post Facto" Research of Completed Events 
12.5.5. Quasi-Experimental Research 
12.5.6. Experimental Research 

12.6. Phases and Stages of Qualitative Research 

12.6.1. Phase 1 Preparation Phase 
12.6.2. Phase 2 Field Phase 
12.6.3. Phase 3 Analytical Phase
12.6.4. Phase 4 Informative Phase 

12.7. Types of Qualitative Research 

12.7.1. Ethnography 
12.7.2. Grounded Theory 
12.7.3. Phenomenology 
12.7.4. The Biographical Method and Life History 
12.7.5. The Case Study 
12.7.6. Content Analysis 
12.7.7. Examination of Speech 
12.7.8. Participatory Action Research 

12.8. Techniques and Instruments for Collecting Quantitative Data 

12.8.1. The Structured Interview 
12.8.2. The Structured Questionnaire 
12.8.3. Systematic Observation 
12.8.4. Attitude Scales 
12.8.5. Statistics 
12.8.6. Secondary Sources of Information 

12.9. Techniques and Instruments for Collecting Qualitative Data 

12.9.1. Unstructured Interview 
12.9.2. In Depth Interview 
12.9.3. Focus Groups 
12.9.4. Simple, Unregulated and Participant Observation 
12.9.5. Life Stories 
12.9.6. Diaries 
12.9.7. Content Analysis 
12.9.8. The Ethnographic Method 

12.10. Data Quality Control 

12.10.1. Requirements for a Measuring Instrument 
12.10.2. Processing and Analysis of Quantitative Data 

12.10.2.1. Validation of Quantitative Data 
12.10.2.2. Statistics for Data Analysis 
12.10.2.3. Descriptive Statistics 
12.10.2.4. Inferential Statistics 

12.10.3. Processing and Analysis of Qualitative Data 

12.10.3.1. Reduction and Characterization 
12.10.3.2. Clarify, Refine and Compare 
12.10.3.3. Programs for Qualitative Analysis of Textual Data 

Module 13. Data Journalism A data-driven approach to investigative journalism 

13.1. Data Journalism I. Research Sources and Data Processing 

13.1.1. Introduction to Data Journalism 
13.1.2. Official Data Sources 

13.1.2.1. Official Data Sources at the National Level 
13.1.2.2. Official Data Sources at the International Level 

13.1.3. Unofficial Data Sources 
13.1.4. Data Journalism Formats I 

13.1.4.1. Internet 
13.1.4.2. Press, Television and Radio 

13.2. Data Journalism II. Digital Tools for Data Presentation 

13.2.1. State of the Art 
13.2.2. Data Processing 
13.2.3. Data Visualization 

13.2.3.1. Tabular Data Visualization 
13.2.3.2. Relationship Visualization 
13.2.3.3. Visualization of Maps 
13.2.3.4. Java Script Visualization 

13.3. Research Methodology and Techniques in Journalism 

13.3.1. Research Methodology in Social Sciences 

13.3.1.1. The Empirical Nature of Social Research 
13.3.1.2. The Scientific Method in the Social Sciences 
13.3.1.3. Scientific Research  
13.3.1.4. The Choice of the Object of Research 

13.3.2. Stages in the Research Process 

13.3.2.1. Identification, Delimitation, Definition, Description and Explanation of the Problem 
13.3.2.2. Formulation of Objectives and Research Questions 
13.3.2.3. Literature Review 

13.3.2.3.1. Background 
13.3.2.3.2. Concepts 
13.3.2.3.3. Theories 

13.3.2.4. Planning the Research Design 

13.3.2.4.1. Sample Selection 
13.3.2.4.2. Type of Study 
13.3.2.4.3. Procedure 
13.3.2.4.4. Collection of Information 

13.3.2.5. Analytical Execution of the Investigation 

13.3.2.5.1. Obtaining Results 
13.3.2.5.2. Presenting Data 
13.3.2.5.3. Data Analysis 
13.3.2.5.4. Conclusions 

13.3.2.6. Writing the Research Report 

13.4. Quantitative Research Techniques 

13.4.1. What is Quantitative Research? 
13.4.2. Features 
13.4.3. Research Tools 
13.4.4. Data collection 

13.5. Qualitative Research Techniques 

13.5.1. What is Qualitative Research? 
13.5.2. Features 
13.5.3. Research Tool 
13.5.4. Data collection 

13.6. The Survey 

13.6.1. What is the Survey? 
13.6.2. Features 
13.6.3. Types 
13.6.4. Applications 

13.7. The Questionnaire 

13.7.1. What is the Questionnaire? 
13.7.2. Features 
13.7.3. Types 
13.7.4. Applications 

13.8. In Depth Interview 

13.8.1. What is an In-Depth Interview? 
13.8.2. Features 
13.8.3. Types 
13.8.4. Applications 

13.9. Focus Group 

13.9.1. What is the Focus Group? 
13.9.2. Features 
13.9.3. Types 
13.9.4. Question Script 
13.9.5. Applications 

13.10. Participant Observation 

13.10.1. What is Participant Observation? 
13.10.2. Features 
13.10.3. Types 
13.10.4. Applications 

Module 14. Narrative and Discursive Component in Investigative Journalism 

14.1. Journalistic Narrative. Theory and Analysis

14.1.1. Quality Journalism 
14.1.2. Journalism and Social Responsibility 
14.1.3. Influence of Journalistic Narrative on the Social Environment
14.1.4. Communicative and Discursive Context of Journalism 

14.2. Discourse, Text and Communication 

14.2.1. Types and Organization of Discourse 
14.2.2. Types of Text 
14.2.3. Communication on the Internet 
14.2.4. Audiovisual Communication 

14.3. New Writing Trends 

14.3.1. Social Responsibility and Ethics of Journalism
14.3.2. Semantic, Pragmatic and Semiotic Analysis of Texts
14.3.3. New Theoretical Frameworks of Communication in the Internet Era
14.3.4. New Theoretical-Methodological Paradigms 

14.4. Research in Journalism 

14.4.1. Research Design 
14.4.2. Construction of the Theoretical Framework 
14.4.3. Construction of the Analytical Framework 
14.4.4. Scientific Writing 

14.5. Discourse Analysis as a Journalism Research Technique 

14.5.1. Systematicity 
14.5.2. Observation 
14.5.3. Recording of Cultural and Socio-Communicative Phenomena 
14.5.4. Conversational Character 
14.5.5. Description of the Production, Emission and Interpretation of Social Discourses

14.6. Informative Writing 

14.6.1. New Disciplines in Digital Writing 
14.6.2. Writing Criteria 
14.6.3. Content Design 
14.6.4. New Narrative Trends 

14.7. Writing Research Reports 

14.7.1. Scientific Research Sources 
14.7.2. Databases 
14.7.3. Electronic Resources 
14.7.4. Citations and References 

14.8. audio-visual language 

14.8.1. Concept of Image 
14.8.2. Concept of Sound 
14.8.3. Basic Rules of Audiovisual Language 
14.8.4. Elements of Audiovisual Language 

14.9. Audiovisual Narrative 

14.9.1. Structure of the Television Newscast 
14.9.2. Production of News Programs 
14.9.3. Styles of Informative Narration 
14.9.4. Informative Narration in the Digital Society

14.10. Investigative Journalism from a Cultural Change Perspective 

14.10.1. Theories and Methods for the Study of Cultural Change 
14.10.2. Archives, Sources and Writing to Address Problems in the Study of Cultural Change 
14.10.3. Analysis of Cultural Change 
14.10.4. Aspects/Components of Cultural Change as it Relates to Investigative Journalism 

Module 15. Research in Digital Media  

15.1. The Scientific Method and its Techniques 

15.1.1. Introduction 
15.1.2. The Scientific Method and its Techniques 
15.1.3. Scientific Method and Methodological Techniques 
15.1.4. Research Design and Phases 
15.1.5. Basic Rules for Bibliographic Selection, Verification, Citation and Referencing 
15.1.6. Research Approaches and Perspectives 
15.1.7. Ethical and Deontological Rules 

15.2. Methodology I 

15.2.1. Introduction 
15.2.3. Measurable Aspects: Quantitative Method 
15.2.4. Quantitative Techniques 
15.2.5. Types of Surveys 
15.2.6. Questionnaire Preparation and Presentation of Results  

15.3. II Methodology 

15.3.1. Introduction 
15.3.2. Measurable Aspects: Qualitative Method 
15.3.3. Qualitative Techniques 
15.3.4. Individual Interviews and their Typology 
15.3.5. The Group Interview and its Variables: Discussion Groups or Focus Groups 
15.3.6. Other Conversational Techniques: Philips 66, Brainstorming, Delphi, Participatory Intervention Cores, Problem and Solution Trees 
15.3.7. Participatory – Action Research 

15.4. III Methodology 

15.4.1. Introduction 
15.4.2. Revealing Communicative Behaviors and Interactions: Observation and its Variants 
15.4.3. Observation as a Scientific Method 
15.4.4. The Procedure: Planning Systematic Observation 
15.4.5. Different Types of Observation 
15.4.6. Online Observation: Virtual Ethnography 

15.5. IV Methodology 

15.5.1. Introduction 
15.5.2. Uncovering the Content of Messages: Content and Discourse Analysis 
15.5.3. Introduction to Quantitative Content Analysis 
15.5.4. Sample Selection and Category Design 
15.5.5. Data Processing 
15.5.6. Critical Discourse Analysis 
15.5.7. Other Techniques for the Analysis of Media Texts 

15.6. Techniques for Collecting Digital Data 

15.6.1. Introduction 
15.6.2. Knowing the Reactions: Experimenting in Communication 
15.6.3. Introduction to Experiments 
15.6.4. What is an Experiment in Communication 
15.6.5. Experimentation and its Types 
15.6.6. The Practical Design of the Experiment 

15.7. Techniques for Organizing Digital Data 

15.7.1. Introduction 
15.7.2. Digital Information 
15.7.3. Problems and Methodological Proposals 
15.7.4. Online Press: Characteristics and Approach to its Analysis 

15.8. Participatory Instrumental Services 

15.8.1. Introduction 
15.8.2. The Internet as an Object of Study: Criteria for Assessing the Quality and Reliability of Internet Content 
15.8.3. Internet as an Object of Study 
15.8.4. Criteria for Evaluating the Quality and Reliability of Content on the Internet 

15.9. Internet Quality as a Source: Validation and Confirmation Strategies

15.9.1. Introduction 
15.9.2. Research on the Internet and Digital Platforms 
15.9.3. Searching and Browsing in the Online Environment 
15.9.4. Approach to Research on Digital Formats: Blogs 
15.9.5. Approach to Social Network Research Methods 
15.9.6. Hyperlink Research 

15:10. Diffusion of Research Activity 

15.10.1. Introduction 
15.10.2. Research Trends in Communication 
15.10.3. Introduction to the Contemporary Environment of Research in Communication 
15.10.4. The Readaptation of the Classic Objects of Communication Research 
15.10.5. The Emergence of Classical Research Objects 
15.10.6. Towards Interdisciplinarity and Methodological Hybridization 

Module 16. Television Reporting 

16.1. The Television Industry. A Structural Approach

16.1.1. Main Characteristics of the Television Industry 
16.1.2. Legal Regulations of the Sector 
16.1.3. Content Creation Production, Distribution and Broadcasting
16.1.4. General Media Study 
16.1.5. Business Models 

16.2. Regulatory Framework for Television Reporting 

16.2.1. General Audiovisual Law 
16.2.2. Intellectual Property and Copyright 
16.2.3. Limitations to Copyright 
16.2.4. Legal Regime in Reportage 

16.3. Characteristics of Television Reportage 

16.3.1. Genre The Report
16.3.2. Typology and Classification 
16.3.3. Components  

16.3.3.1. Images 
16.3.3.2. Voice-Over 
16.3.3.3. Interviews 
16.3.3.4. Ambient Sound 
16.3.3.5. Music 

16.3.4. Key Factors of Success in Television Reporting  

16.4. Requirements of the Report 

16.4.1. Attribution 
16.4.2. Verification 
16.4.3. Balance 
16.4.4. Impartiality 
16.4.5. Accuracy 
16.4.6. Clarity 
16.4.7. Human Interest 

16.5. Structure of the Report  

16.5.1. Entrance 
16.5.2. Body 

16.5.2.1. Approach 
16.5.2.2. Research 
16.5.2.3. Journalist's Selective Capacity 
16.5.2.4. Mastery of the Structure of the Report 

16.5.3. Closure 

16.6. Reporting Criteria 

16.6.1. Impact 
16.6.2. Opportunity 
16.6.3. Pre-eminence 
16.6.4. Proximity 
16.6.5. Conflict 
16.6.6. Rarity 
16.6.7. Exclusivity 

16.7. Human Component of the Report 

16.7.1. Use of Topics of General Interest 
16.7.2. Consultation of Voices. Appeal to People and Familiar Names
16.7.3. The Reportage Does Not Admit Editorializing 
16.7.4. What Does the Television Reportage Bring Us? 

16.8. Resources in the Reportage 

16.8.1. Data Documentation 
16.8.2. Images of the Event 
16.8.3. Witness Statements 
16.8.4. News Background 
16.8.5. Data Obtained from Primary Sources 
16.8.6. Data Obtained from Secondary Sources 
16.8.7. Expert Opinions 

16.9. New Trends in Television Reportage 

16.9.1. Rise of Fact-Based Entertainment 
16.9.2. Spectacularization of Information 
16.9.3. Entertainment, Evasion and Spectacularization of information. Infotainment
16.9.4. Communicative Structures. The Television Report as a Communicating Entity in the Process of Production of Informative Messages

16.10. Professional Ethics. Reporting and Journalistic Ethics 

16.10.1. Professional Deontology and Ethical Conduct in the Profession
16.10.2. Ethics and Communicative Responsibility 
16.10.3. Self-Regulation of the Journalism Profession 
16.10.4. Social Responsibility of the Information in the Key of the Television Report

Module 17. Production of Television Reports 

17.1. Television Production 

17.1.1. Concept 
17.1.2. Context 
17.1.3. Data Science 
17.1.4. Process 

17.2. Functions/Roles of Television Production 

17.2.1. Executive Producer 
17.2.2. Audiovisual Designer 
17.2.3. Content Advisor 
17.2.4. Pedagogue 
17.2.5. Screenwriter 
17.2.6. Producer 
17.2.7. Production Assistant 
17.2.8. Camera Director or Filmmaker 
17.2.9. Assistant Director or Filmmaker 
17.2.10. Stage Manager 
17.2.11. Continuity or Raccord 
17.2.12. Floor Manager 

17.3. Research Techniques in Television Reporting 

17.3.1. Television report script 
17.3.2. Regulatory Framework of Investigative Reporting Techniques
17.3.3. Hidden Camera 
17.3.4. Assembly 
17.3.5. Final Result 

17.4. Research Sources for Television Reports 

17.4.1. Types of Research Sources 
17.4.2. Treatment of Sources 
17.4.3. Audiovisual Journalism and Information Sources 
17.4.4. The Television Report in Journalistic Investigation 

17.5. Phases in the Elaboration of a Television Report 

17.5.1. Pre-Production Phase 

17.5.1.1. Pre-Production Template 
17.5.1.2. Expenditure Forecast  
17.5.1.3. Pre-Production Management 

17.5.2. Production Phase 

17.5.2.1. Final Script 
17.5.2.2. Justification of the Focus of the Report 
17.5.2.3. Justification of the Story Structure 
17.5.2.4. Justification of the Selected Sources 
17.5.2.5. Budgetary Report 
17.5.2.6. Responsibilities of the Team Members 

17.5.3. Post-Production Phase 
17.5.4. Promotion/Broadcasting Plan 

17.6. Television report script 

17.6.1. Objectives 
17.6.2. Topics 
17.6.3. Currently 
17.6.4. Characteristics of a Script 

17.6.4.1. Objectivity 
17.6.4.2. Creativity 
17.6.4.3. Originality 
17.6.4.4. Entertainment 
17.6.4.5. Audience 

17.7. The Production Team 

17.7.1. What is To Be Produced? 
17.7.2. Means Needed to Start the Project 
17.7.3. Organization of Means 
17.7.4. Work Plan Budget 
17.7.5. How is the Work Being Carried Out? 
17.7.6. Assessment of a Market Orientation 

17.8. Recording, Editing and Post-Production of the Report 

17.8.1. Taking Images 
17.8.2. Lighting 
17.8.3. Editing and Editing of the Reportage 
17.8.4. Realization 
17.8.5. Production of the Report 

17.9. Reproduction of Television Reports 

17.9.1. Design 
17.9.2. Management 
17.9.3. Filming Permits 
17.9.4. Locations 
17.9.5. Accreditations 
17.9.6. Contacts with Interviewees 
17.9.7. Documentation Search 
17.9.8. The Writer and his Logistical Needs 
17.9.9. Recording Equipment 
17.9.10. Accommodation Management 
17.9.11. Transportation 
17.9.12. Displacements 

17.10. The Television Interview; an Essential Tool for Television Reporting 

17.10.1. What is the Television Interview? 
17.10.2. Features 
17.10.3. Factors that Intervene in the Process of Communication on Television 

17.10.3.1. Personal Appearance 
17.10.3.2. What We Say (The Message) 
17.10.3.3. How the Message is Transmitted 
17.10.3.4. Locution 

17.10.4. Tools 

17.10.4.1. Argument 
17.10.4.2. Messages, Key Ideas 
17.10.4.3. Targets 
17.10.4.4. Questions and Answers 
17.10.4.5. The 3 R's 

Module 18. Television Reportage 

18.1. Journalistic Writing 

18.1.1. Reporterism. Features
18.1.2. Hierarchical Structure and Resources of the Newspaper Writing
18.1.3. Informative Convergence in Multimedia Groups 
18.1.4. New Journalism 

18.2. Camera, Editing and Assembly 

18.2.1. Knowledge of Camera Handling 
18.2.2. Editing and Editing of the Reportage 
18.2.3. Sequential Processing of the Information 
18.2.4. Image Narrative Techniques and Textual Narrative Techniques 

18.3. Presentation and Expression Techniques in Front of the Camera. Live Television 

18.3.1. Techniques of Expression in Front of the Camera 
18.3.2. Air and Pause Control Techniques
18.3.3. Rhythm 
18.3.4. Vocalization 
18.3.5. Voice Modulation 
18.3.6. Breathing Techniques 

18.4. Introduction 

18.4.1. Effectiveness in Communication 
18.4.2. Mastery of Language and Body Expression 
18.4.3. Coordination Between Text Reading and Body Language 
18.4.4. Concise, Simple and Brief Language 
18.4.5. Empathy 
18.4.6. Tests 

18.5. Voice-Over 

18.5.1. Reading Texts 
18.5.2. Articulation Practice 
18.5.3. Diction Practice 
18.5.4. Breathing 
18.5.5. Emphasis 
18.5.6. Reading Aloud 
18.5.7. Voice-Over Technique 
18.5.8. Reading In One’s Own Style 
18.5.9. Live Voice-Overs 
18.5.10. Intention 
18.5.11. Naturalness 

18.6. Television Reportage Pre-Production, Production and Realization

18.6.1. Praxis of Television Reporting 
18.6.2. Search of Documentation for the Reportage 
18.6.3. Technical and Human Needs in the Process of Creation of the Reportage
18.6.4. Audiovisual Journalistic Narrative for What is To Be Said On-Air or Off-Air
18.6.5. Production of the Report 

18.7. Photoreporting and its Typology 

18.7.1. Photoreporting 
18.7.2. Informative Photography 
18.7.3. Testimonial Photography 
18.7.4. Essay 
18.7.5. Photo Illustration 

18.8. Ethics and Deontology in Television Reporting 

18.8.1. Respect for the Truth
18.8.2. Verification and Contrasting of Sources 
18.8.3. Truthful and Critical Investigation of Facts 
18.8.4. Objectivity as the Main Goal to be Pursued 

18.9. Camera, Editing and Montage Workshop 

18.9.1. Shooting and Lighting 
18.9.2. Editing of the Reportage  
18.9.3. The Direct 
18.9.4. The Realization 

18.10. Reporting Workshop 

18.10.1. Guidelines for the Choice of the Subject 
18.10.2. Approach 
18.10.3. The Rigorousness of the Work with Sources 
18.10.4. Verification of Information 
18.10.5. The Importance of Information Selection 

Module 19. Future television trends

19.1. Predominance of Content 

19.1.1. Actions of the Multimedia Industry  
19.1.2. Internet Television 
19.1.3. Live Streaming Services 
19.1.4. Internet Advertising Providers 

19.2. Monetization Models 

19.2.1. Slowdown of Traditional Streaming Services 
19.2.2. Expansion Opportunities 
19.2.3. Foreign Markets 
19.2.4. Content Licensing 

19.3. The Content Consumer 

19.3.1. The Audience has Been Replaced by Consumers 
19.3.2. Original Content 
19.3.3. Competitive Market 
19.3.4. Recommendation Engines, Hyper-Personalization and Content Editing 

19.4. Television Linked to Digital Engineering 

19.4.1. Programming 
19.4.2. Innovation 
19.4.3. Digital Services 
19.4.4. Platforms for Content Consumption 

19.5. Big Data and a Changing Audience 

19.5.1. Viewing Habits 
19.5.2. Audience Retention Difficulties 
19.5.3. Multi-Device Viewing 
19.5.4. CRM Systems 

19.6. Predictive TV 

19.6.1. Modeling Statistics 
19.6.2. Data Mining 
19.6.3. Reactive Content Consumption 
19.6.4. Attraction of Audiovisual Products 

19.7. Drone Journalism 

19.7.1. New Journalistic Genre? 
19.7.2. Historical Review of the Drone Phenomenon 
19.7.3. Drones and News 

19.8. Drone Journalism Linked to Investigative Journalism or Photojournalism 

19.8.1. The Journalism of Things 
19.8.2. "Television Everywhere"." 
19.8.3. New Platforms for Television Viewing 
19.8.4. Structural Change in the Television Model 
19.8.5. New Trends in Approaches, Interaction and Immersion

19.9. Journalist Influencers 

19.9.1. Instastars, YouTubers, Vloggers 
19.9.2. Social Media Strategy 
19.9.3. Agencies and Brands 
19.9.4. Relationship Between Influencer and Television 

19.10. The Future of Television on the Internet 

19.10.1. Quality Television on the Internet 
19.10.2. Long-Duration Videos 
19.10.3. Broadband and Mobile Networks 
19.10.4. 4G and 5G 

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