An exciting and comprehensive analysis of cinema in America, Latin America, Asia and Africa”

Each genre within the field of audiovisuals handles its own communicative keys. From the creation of the theoretical basis that will mark its most solid structure to the type of language, the texture of the participants and all other aspects, each type requires a complete control of the different ways of working

In this program, we will take you through the ways of working in the area of scriptwriting in television programs of different genres and piec

A theoretical and practical learning that will prepare you in the area of TV scripting in programs and fiction”

This Postgraduate certificate in TV, Program and Fiction Scriptwriting 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 tele-practice
• 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
• Content that is accessible from any fixed or portable device with an internet connection
• Supplementary documentation databases are permanently available, even after the program

Theory alone is insufficient: We provide you with the most practical and competent expertise”

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 professors trained and experienced in different environments, who will develop the theoretical knowledge in an efficient manner, but, above all, will put the practical knowledge derived from their own experience at the service of the program: one of the differential qualities of this course

This mastery of the subject is complemented by the effectiveness of the methodological design of this Postgraduate Certificate. Developed by a multidisciplinary team of e-learning experts, it integrates the latest advances in educational technology. This way, you will be able to study with a range of comfortable and versatile multimedia tools that will give you the operability you need in your learning.

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 tele-practice:  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 actually dealing with the scenario you are learning about. A concept that will allow you to integrate and fix learning in a more realistic and permanent way.

A contextualized and real learning that allows you to put your knowledge into practice through new skills and competences"

A high quality program that will give you practical and real learning that allows you to advance gradually and safely” 

The syllabus of the Postgraduate certificate is set as a complete tour through each and every one of the elements required to understand and assume the ways of working in this field. With an approach focused on practical application that will help you 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 Scriptwriting: Programs and Fiction   

1.1. Dramatic Writing for Audiovisual Media  

1.1.1. Basic Elements of Dramatic Writing (Basic Notions of Audiovisual Narrative): Character, Action, Synopsis, Conflict, Dialogue, Point of View and Identification, Dramatic Mechanisms, Narrative Logics

1.2. The TV Fiction Script 

1.2.1. The constraints of plotting and writing for television: Plot Constraints and Writing for Television: Film Screenwriting and Television Screenwriting, Needs of Fiction Writing for Television, Differences between Television Writing Models, Production Writing Constraints: "Sudoku"
1.2.2. The Play-List: a Working Tool
1.2.3. Television Fiction Formats
1.2.3. The Creation of TV Series 
1.2.4. The Starting Point: Concept Development
1.2.5. The Foundations of the Project: the Bible
1.2.6. Structure
1.2.7. Development of Storylines: Plots and Plot Maps
1.2.8. Character Construction and the Characterization Process
1.2.9. The Dialogues
1.2.10. Scale
1.2.11. Rewriting: Polishing the Structure of the Storyboard and Dialogues
1.2.12. Organization of Script Teams: the Daily Series, the Procedural, the Prime Time Serial
1.2.13. Pilot Chapter
1.2.14. Project Presentation: Pitching
1.2.15. Sales Dossier
1.2.16. Case Studies: Scriptwriting in Cuéntame Cómo Pasó (TVE)

1.3. The Scripting of Entertainment Programs: An Introduction  

1.3.1. General and Historical Overview of the Current Situation of Television Shows 
1.3.2. How to Create a TV Program 
1.3.3. Contests and Their Elements
1.3.4. Magazines: Rhythm and Structure

1.4. Comedy Programs I 

1.4.1. Humor: Sketches and Political Correctness on TV 
1.4.2. Funny Programs 
1.4.3. Hidden Camera Programs
1.4.4. Video Programs (Subtypes)
1.4.5. The TV Monologue
1.4.6. Crowd-pleasers

1.5. Comedy Programs II

1.5.1. Daily Shows and Late Night Shows 
1.5.2. The Script and Humor of Current News: The Infoshow (El Intermedio as a case study) 

1.6. Reality Shows

1.6.1. Historicals, Locked-in Classics, Talent Search, Role reversal, Life Style, Docu Soap, Humiliation TV  
1.6.2. Guidelines for Creating a Reality Show 
1.6.3. The Script in Reality TV
1.6.4. The Limits of Reality 

1.7. Talent/Coach Shows 

1.7.1. Talent Shows 
1.7.2. Coach Shows 
1.7.3. Game Shows 

1.8. Documentaries I

1.8.1. Ways of Representing Reality
1.8.2. Expository Documentary, Observational Documentary, Interactive Documentary, Reflective Documentary, Poetic Documentary, Expressive Documentary 
1.8.3. Phases in the Writing of the Documentary Screenplay
1.8.4. Idea, Story; Synopsis; Playbill/Transcript; Shooting Script/Editing Script
1.8.5. Narrative Resources in the Documentary Script
1.8.6. Characters, Action, Narrator's Voice/Author's Voice, Interviews, Stock footage, Color, 2D/3D Image, Digital effects, Music, Other Narrative Devices Digital effects, The music, Other narrative resources

1.9. Documentaries II 

1.9.1. Current Trends in Documentary Filmmaking 

1.9.1.2. Transformations of Documentary or Non-Fiction Filmmaking in the Digital Scene
1.9.1.3. New Trends in Contemporary Documentary Film as a Result of the Triple Hybridization of Technology, Narrative and Creativity

1.9.2. Subgenres of Contemporary Documentary

1.9.2.1. Fake or Mockumentary
1.9.2.2. Collaborative Documentary
1.9.2.3. Film-Diary
1.9.2.4. Family Cinema
1.9.2.5. Found Footage Documentary
1.9.2.6. Experimental Documentary, etc

1.10. New Formats (Hoax, Scripted Reality, etc.)

1.10.1. New Formats and Hybridization: Case Studies 
1.10.2. Under-covered Boss  
1.10.3. House Hunters 
1.10.4. Fixer Upper
1.10.5. The Apprentice
1.10.6. Catfish
1.10.7. Hell’s Kitchen
1.10.8. Keeping Up with the Kardashians
1.10.9. The Campos
1.10.10. Alaska an

You will have access to a library of multimedia resources 7 days a week, 24 hours a day"