This Professional master’s degree in Audiovisual Journalism will allow you to develop all your knowledge about the creation and broadcasting of stories in an audiovisual format in a professional way"

Journalism studies are one of the most demanded in all universities, since this profession has a great influence on the population and has gained great prominence since its beginnings. Journalism encompasses different branches: social, cultural, economic, sports, international, events, conflicts, etc. This makes it necessary for professionals in this sector to specialize in order to tell stories in the most appropriate way in each case.

Additionally, the transmission of information can be carried out through different media. Specifically, this program aims to specialize students in Audiovisual Journalism. To do so, it is necessary to acquire a series of skills that allow you to put into practice all that has been learned.

The study plan covers everything from the writing process to television and radio communication and journalism, the main media through which the audiovisual sector is developed. In recent years, new technologies have gained great relevance and, therefore, there is also a prominent place for learning about digital journalism and social networks.

This program is the most complete and targeted for the professional in the field of journalism and communication to reach a higher level of performance, based on the fundamentals and the latest trends in Audiovisual Journalism.

This program will allow you to enhance your skills and become a successful audiovisual journalist"

This Professional master’s degree in Audiovisual Journalism contains the most complete and up-to-date program on the market. Its most notable features are:

• The development of practical cases cases presented by experts in Audiovisual Journalism
• The graphic, schematic, and practical contents with which they are created provide scientific and practical information on the disciplines that are essential for professional practice
• New developments in Audiovisual Journalism
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies in Audiovisual Journalism
• The interactive learning system based on algorithms for decision-making on the situations posed in Audiovisual Journalism
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

This Professional master’s degree is perfect for you to know how to tell the story you want to tell and do it in a professional way"

Its teaching staff includes professionals belonging to the world of Audiovisual Journalism, who bring to this training the experience of their work, as well as recognized specialists from prestigious reference societies and universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive program designed to learn in 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 professional will be assisted by an innovative interactive video system developed by renowned experts and in the field of Audiovisual Journalism and with great experience.

Don't miss the opportunity to enhance your skills in Audiovisual Journalism"

Know the latest trends in Audiovisual Journalism and be the best in this sector"

The structure of the contents has been designed by a team of professionals in Audiovisual Journalism, aware of the relevance of current specialization in order to deepen the area of knowledge to perform professional quality work through the new tools available.

This Professional master’s degree in Audiovisual Journalism contains the most complete and up-to-date program on the market”

Module 1. 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 Chronicle of Shows
2.4.4. 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. Interpretive Reportages
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 Information 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 Departments

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
4.2.8. 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: Changing Gears in the Development of Communication and Written 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
5.4.4.1. War Films
5.4.4.1. Comedy Films
5.4.4.1. The Musical
5.4.4.1. Documentaries

5.4.5. Characters and Dialogue
5.4.6. Literary Script vs 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. The Invisible Assembly: 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. The Audiovisual Advertising Discourse: Spot, Trailer and Videoclip

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 Technology 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 Study Nodding

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

8.7.3. 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. 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. Genres of Cyberjournalism

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

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