Transmedia Communication is the present and the future. Specialize in this field and access the most reputable companies in the advertising industry”

The world of advertising communication and journalism is experiencing a major turning point. The new context of digital communication, with a wide variety of content available to audiences and numerous platforms available to access them, makes it necessary to conceive communication as a narrative spider's web composed of different pieces. This model leaves behind linear communication, where the receiver had access to information at a specific moment in a single medium.

Now, the viewer has many more options and possibilities of consuming information, being able to access all the content they want through social networks, mobile applications, streaming platforms or live broadcasting, for example. But also, one of the big differences with the communication process of decades ago is that today the user is no longer a mere spectator but a co-creator of stories. Therefore, thanks to their tastes, interactions and recommendations, they have become an essential part of the elaboration process.

No company today is capable of offering a product without first testing its customers, without knowing their tastes or availability. Thanks to virtual communities, large advertising agencies are able to know the feelings of customers about a product without it being on sale yet or even without having seen the final advertisement, just showing a preview of what they will find. And the same can happen with any self-respecting sector: the media announces interviews with relevant characters provoking an interest in the public, videogame creators offer a glimpse of what will be their next hit, and so on. And all this creates so many interactions on the net that it can give a general idea of how the final product will be received.

This is why professionals in the 21st century must be highly specialized in transmedia content, which is the present and the future of communication. Thanks to this Professional master’s degree from TECH Global University, the student will be able to create creative stories that transcend the public's expectations and offer a unique experience that makes users feel part of the process. In addition, students will acquire a level of competence that will allow them to access management positions in advertising, communication or video game design agencies, or to start their own businesses related to Transmedia Communication.

Create stories that spark the public’s interest and that are the starting point for creating virtual communities through which your company will receive the feedback they need” 

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

• The development of case studies presented by experts in Transmedia Communication
• Its graphic, schematic and practical contents are designed to provide scientific and practical information on those disciplines that are essential for professional practice
• New developments in Transmedia Communication
• Practical exercises where the self-assessment process can be carried out to improve learning
• Special emphasis on innovative methodologies in Transmedia Communication
• Algorithm-based interactive learning system for decision-making in the situations that are presented to the student
• 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

A state-of-the-art program to bring you closer to Transmedia Communication in a professional way” 

Its teaching staff includes professionals from the field of Transmedia Communication, who contribute the experience of their work to this program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide an immersive program designed to learn in real situations.

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

Learn how to use fiction to create compelling stories for advertising"

Allowing user interaction in your stories will provide them with a unique experience and build user loyalty"

This Professional master’s degree in Transmedia Communication has been designed to offer journalism professionals a higher qualification in a totally innovative area of the media. Consumers are increasingly better informed and no longer seek only quality content, but also want to be part of the offer, through their opinions and suggestions, leaving behind traditional media and opting for the Internet and new technologies. Therefore, students' higher specialization in this field will be essential to create those persuasive messages that capture the public's interest. 

A 100% up-to-date syllabus that will show you the most relevant concepts about Transmedia Communication” 

Module 1. A New Communication Paradigm

1.1. Media Transformation and Audience Fragmentation

1.1.1. The New Role of the Media
1.1.2. The Citizen Facing the Digital Revolution
1.1.3. Consumption and Infoxication

1.2. Media Convergence

1.2.1. Technological Convergence
1.2.2. Socio-Cultural Convergence
1.2.3. Corporate Convergence

1.3. Internet 2.0: from Monologue to Dialogue

1.3.1. The Fragmentation Process
1.3.2. The Effect of Technology
1.3.3. The Questioning of Traditional Media

1.4. Long Tail

1.4.1. Long Tail Business Models
1.4.2. Elements of a Long Tail Model

1.5. The New Prosumer

1.5.1. The Third Wave
1.5.2. Spectators vs. Influencers

1.6. Internet 2.0

1.6.1. Penetration and Usage Data
1.6.2. From Monologue to Dialogue
1.6.3. The Internet of Things

1.7. Participatory Culture

1.7.1. Features
1.7.2. Internet and Public Opinion
1.7.3. Co-Creation

1.8. The Ephemeral Attention

1.8.1. Multi-Mediality
1.8.2. Multi-Tasking
1.8.3. The Collapse of Care

1.9. Hardware: From the Black Box to the Hyperconnected Home

1.9.1. The Black Box
1.9.2. New Devices
1.9.3. Breaking Down the Digital Divide

1.10. Towards a New Television

1.10.1. Premises of the New TV
1.10.2. Self-Programming
1.10.3. Social Television

Module 2. Transmedia Storytelling, Crossmedia

2.1. Chronology of the Transmedia Concept

2.1.1. Transmedia in the Context of Contemporary Cultural Production
2.1.2. How do we Understand Transmedia?
2.1.3. Key Elements that Make up a General Notion of Transmedia

2.2. Transmedia and Related. Multiplatform, Crossmedia, Digital Narratives, Multimodality, Transmedia Literacies, Worldbuilding, Franchising, Data Storytelling, Platformization

2.2.1. Economy of Attention
2.2.2. Transmedia and Related
2.2.3. Multimodality, Crossmedia and Transmedia

2.3. Areas of Application and Potential of Transmedia

2.3.1. Transmedia in the Cultural Industries
2.3.2. Transmedia and Organizations
2.3.3. Transmedia in Science and Education

2.4. Consumption Practices and Transmedia Culture

2.4.1. Cultural Consumption and Everyday Life
2.4.2. Platforms
2.4.3. User-Generated Content

2.5. Technologies

2.5.1. Transmedia, New Media and Technology: Early Days
2.5.2. Date:
2.5.3. The Technological Factor in Transmedia Projects

2.6. Transmedia, Between Digital and Live Experiences

2.6.1. The Value of Live Experiences
2.6.2. What Do we Understand as Experience?
2.6.3. Examples of Real-World Experiences

2.7. Transmedia and Gaming: Designing Playful Experiences

2.7.1. The Whole and the Parts: Issues to Consider When Defining the Individual Elements of a Transmedia Experience
2.7.2. The Playfulness Factor
2.7.3. Some Examples

2.8. Critical Aspects of Transmedia

2.8.1. What Can Transmedia Become?
2.8.2. Discussion
2.8.3. A Critical Look: What Challenges and Problems Do We Have to Face?

2.9. Interdisciplinary Transmedia: Roles, Profiles, Teams

2.9.1. Teamwork
2.9.2. Transmedia Competencies
2.9.3. Roles

Module 3. Transmedia Narratives

3.1. Transmedia Narratives according to Henry Jenkins

3.1.1. Henry Jenkins, Transmedia and Convergence Culture
3.1.2. Links Between Participatory Culture, Transmedia and Fan Studies
3.1.3. The 'Seven Principles' of Transmedia Storytelling

3.2. Reviews and Alternative Visions of Transmedia Narratives

3.2.1. Theoretical Perspectives
3.2.2. Perspectives on Professional Practice
3.2.3. Specific Views

3.3. Stories, Narrative, Storytelling

3.3.1. Stories, Narrative and Storytelling
3.3.2. Narrative as Structure and Practice
3.3.3. Intertextuality

3.4. Classic', Non-linear and Transmedia Narrative

3.4.1. The Narrative Experience
3.4.2. Narrative Structure in Three Acts
3.4.3. The Ideas and Comings and Goings of the 'Hero's Journey'

3.5. Interactive Narrative: Linear and Non-linear Narrative Structures

3.5.1. Interactivity
3.5.2. Agency
3.5.3. Different Non-Linear Narrative Structures

3.6. Digital Storytelling

3.6.1. Digital Narratives
3.6.2. The Origin of Digital Storytelling: Life Stories
3.6.3. Digital and Transmedia Storytelling

3.7. Anchors' Transmedia Storytelling: Worlds, Characters, Time and Timelines, Maps, Space

3.7.1. The Moment of the 'Leap
3.7.2. Imaginary Worlds
3.7.3. Public Participation

3.8. Fan Phenomenon, Canon and Transmedia

3.8.1. Role of the Fan
3.8.2. Fandom and Productivity
3.8.3. Key Concepts in the Relationship between Transmedia and Fan Culture

3.9. Audience Involvement ( Engagement Strategies, Crowdsourcing, Crowdfunding, etc.)

3.9.1. Levels of Involvement: Followers, Enthusiasts, Fans
3.9.2. The Public, the Collective, the Crowd
3.9.3. Crowdsourcing and Crowdfunding

Module 4. Transmedia Content Production

4.1. The Project Ideation Phase

4.1.1. Story
4.1.2. Platforms
4.1.3. Public

4.2. Documentation, Research, Search for references

4.2.1. Documentation
4.2.2. Successful References
4.2.3. Learning from Others

4.3. Creative Strategies: in Search of the Premise

4.3.1. The Premise
4.3.2. Necessity of the Premise
4.3.3. Coherent Projects

4.4. Platforms, Narrative and Participation. An Iterative Process

4.4.1. Creative Process
4.4.2. Connection Between the Different Parts
4.4.3. Transmedia Narratives as a Process

4.5. The Narrative Proposal: Story, Arcs, Worlds, Characters

4.5.1. The Story and Narrative Arcs
4.5.2. Worlds and Universes
4.5.3. Characters at the Center of the Story

4.6. The Optimal Support for Our Narrative. Formats and Platforms

4.6.1. The Medium and the Message
4.6.2. Platform Selection
4.6.3. Format Selection

4.7. User Experience (UX) Design Know your Audience

4.7.1. Discover your Audience
4.7.2. Levels of Participation
4.7.3. Experience and Memorability

4.8. The Transmedia Production Bible: Approach, Platforms and User Journey

4.8.1. The Transmedia Production Bible
4.8.2. Approach and Platforms
4.8.3. User Journey

4.9. The Transmedia Production Bible: Project Aesthetics, Material and Technical Requirements

4.9.1. Importance of Aesthetics
4.9.2. Possibilities and Production
4.9.3. Material and Technical Requirements

4.10. The Transmedia Production Bible: Case Studies on Business Models

4.10.1. Model Design
4.10.2. Model Adaptation
4.10.3. Cases

Module 5. Transmedia Franchises

5.1. Naming and Delimitation of Terms: Media and Business Franchising, Licensing, Merchandising, Consumer Products

5.1.1. Transmedia and Media Franchising vs. Franchise Business
5.1.2. Transmedia Media Franchises
5.1.3. Consumer Products, Licensing and Merchandising

5.2. Elements for Transmedia Business Models

5.2.1. Technology
5.2.2. Mainstream Culture
5.2.3. Fan Phenomenon

5.3. Transmedia Business Models: Creation, Monetization and Life Cycle

5.3.1. Origins of Transmedia Franchising and Types of Franchises
5.3.2. Monetization of the Franchise Business
5.3.3. Franchise Life Cycle

5.4. Historical Evolution of Transmedia Franchises

5.4.1. Medical History
5.4.2. Old Media Franchises (1928/1977)
5.4.3. Modern Media Franchises

5.5. Legal Basis Franchises: Intellectual Property, Audiovisual Rights, Transfer of Rights

5.5.1. Intellectual Property, Author and Work
5.5.2. Intellectual Property Rights: Moral Rights and Economic Rights. Copyright and Author's Rights
5.5.3. Transfer of Rights: Trademark and Trademark Registration. Types of Franchise Agreements
5.6. Transmedia Franchise Management: Media, Chronology, Partners

5.6.1. The Strategy

5.6.2. Key Categories and Partners Selection
5.6.3. Product and Service Development

5.7. Franchise Management Tools

5.7.1. Franchise Agreement (Standard Clauses)
5.7.2. Evaluation and Approval Forms
5.7.3. Style Guide

5.8. Brand Marketing in Franchise Management

5.8.1. Business Plan
5.8.2. Royalties and Sell-off
5.8.3. Guaranteed Minimum and Other Fees

5.9. Financial Aspects

5.9.1. Brand Marketing Plan
5.9.2. 360º Marketing Campaign
5.9.3. Consumer Behavior

5.10. Transmedia Franchise Management Diagram

5.10.1. Strategy Management, Partners Selection and Franchise Agreement
5.10.2. Production and Marketing Management

Module 6. Transmedia Storytelling in the Video Game Industry

6.1. A Historical Relationship: Video Games at the Beginning of Transmedia Storytelling Theories

6.1.1. Context
6.1.2. Marsha Kinder and the Ninja Turtles
6.1.3. From Pokémon to the Matrix: Henry Jenkins

6.2. Importance of the Videogame Industry in Media Conglomerates

6.2.1. Video Games as Content Generators
6.2.2. Some Figures
6.2.3. The Leap to New and Old Media

6.3. Relevance and Evolution of Video Games as a Cultural Object and as an Object of Academic Study

6.3.1. Video Games and Popular Culture
6.3.2. Consideration as a Cultural Object
6.3.3. Video Games at the University

6.4. Storytelling and Transmediality in Emerging Narratives

6.4.1. Transmedia Storytelling at the Amusement Park
6.4.2. New Considerations on Narrative
6.4.3. Emerging Stories

6.5. On the Narrative of Videogames and their Weight in Transmedia Storytelling

6.5.1. Early Discussions on Narrative and Videogames
6.5.2. The Value of Storytelling in Video Games
6.5.3. Ontology of Video Games

6.6. Videogames as Creators of Transmedia Worlds

6.6.1. The Rules of the World
6.6.2. Playable Universes
6.6.3. Inexhaustible Worlds and Characters

6.7. Crossmediality and Transmediality: The Industry's Adaptive Strategy to New Audience Demands

6.7.1. Derivative products
6.7.2. A New Audience
6.7.3. The Leap to Transmediality

6.8. Transmedia Video Game Adaptations and Expansions

6.8.1. Industrial Strategy
6.8.2. Failed Adaptations
6.8.3. Transmedia Expansions

6.9. Video Games and Transmedia Characters

6.9.1. Traveling Characters
6.9.2. From the Narrative Medium to the Videogame
6.9.3. Out of our Control: The Leap to Other Media

6.10. Video Games and Fandom: Affective Theories and Followers

6.10.1. Cosplaying Mario
6.10.2. We are What We Play
6.10.3. Fans Take the Lead

Module 7. Transmedia Extended Reality: VR and AR

7.1. Extended Reality (XR)
7.2. XR Evolution Predictions

7.2.1. Present
7.2.2. Device Comparison
7.2.3. Future

7.3. Technical Aspects of XR

7.3.1. Types of Interactions
7.3.2. Locomotion
7.3.3. Advantages and Limitations of XR

7.4. The Importance of 5 Senses

7.4.1. Haptic Devices
7.4.2. Multisensory Devices
7.4.3. Sound on the XR

7.5. XR Project Creation Process

7.5.1. Creative Process
7.5.2. XR Profiles
7.5.3. Case Study

7.6. UX/UI Design in XR

7.6.1. Design Process
7.6.2. UX/UI in XR

7.7. New Narrative Languages of the XR: Storyliving

7.7.1. Storytelling vs. Storyliving
7.7.2. Narrative Aspects Specific to the XR
7.7.3. Transmedia Extended Reality Case Studies

7.8. XR Narrative Design: Script and Storyboarding

7.8.1. Design
7.8.2. Script
7.8.3. Storyboard

7.9. Technical Development and Tools

7.9.1. Technical Briefing Development
7.9.2. Prototyping Tools
7.9.3. Spanish XR Industry

7.10. Distribution of an XR Experience

7.10.1. MVP
7.10.2. Distribution
7.10.3. Marketing and Promotion

Module 8. Transmedia Journalism

8.1. Evolution of ICTs: Traditional and New Media

8.1.1. ICTs as an Accelerator of Media Transformation
8.1.2. Digital Native Methods
8.1.3. ICT and the Not-So-Traditional Media

8.2. The Citizen as an Informant

8.2.1. The Citizen, Generator of Information
8.2.2. Limits and Limitations of Citizen Journalism

8.3. The Transmedia Journalist

8.3.1. Essential Skills and Knowledge for Transmedia Journalists
8.3.2. Transmedia Journalists for Transmedia Companies
8.3.3. MoJo Journalism

8.4. Design, Creation and Production of Transmedia News Content

8.4.1. Jenkins' Transmedia Basics Adapted to Journalism
8.4.2. The Process of Creating a Transmedia Journalistic Project

8.5. Formats in Transmedia Journalism: Video, Photo, Sound, Infographics

8.5.1. Writing Journalistic Content for Digital Media
8.5.2. Image and Audio
8.5.3. Tools for Infographics Design

8.6. Dissemination of Transmedia Journalism: Own and Earned Channels

8.6.1. Journalism and Corporate Communication
8.6.2. Broadcasting in Own Channels
8.6.3. Diffusion in Earned Media

8.7. Brand Journalism

8.7.1. Informative Writing
8.7.2. Branded Content and Journalism: Characteristics of Brand Journalism
8.7.3. Exemplary Brand Journalism Publications

8.8. Participatory Journalism

8.8.1. The Participative Journalist
8.8.2. The Participative User
8.8.3. Blogging for Journalistic Specialization

8.9. Gamification of Journalism, Newsgames

8.9.1. A State-of-the-art Journalistic Format
8.9.2. Subgenres
8.9.3. Classic Case Studies and Other more Innovative Serious Games

8.10. Podcast Transmedia

8.10.1. The Traditional Podcast: Audio
8.10.2. The Transmedia Podcast
8.10.3. The Branded Podcast

Module 9. Creation and Management of Digital Communities

9.1. A Virtual Community and Where We Can Create Them

9.1.1. Types of User
9.1.2. Spaces Where Virtual Communities Can Be Created
9.1.3. Particularities of these Spaces

9.2. Facebook and Instagram Community Management

9.2.1. Community Creation and Management Tools
9.2.2. Possibilities and Limits

9.3. Twitter Community Management

9.3.1. Community Creation and Management Tools
9.3.2. Possibilities and Limits

9.4. YouTube Community Management

9.4.1. Community Creation and Management Tools
9.4.2. Possibilities and Limits

9.5. Twitch Community Management

9.5.1. Community Creation and Management Tools
9.5.2. Possibilities and Limits

9.6. Management of Future Communities in Emerging Spaces. Your Keys

9.6.1. Keys to Be Taken into Account in the Analysis of the Commented Networks
9.6.2. Steps to Take When New Social Networks are Launched
9.6.3. Speeches and Dialogues 

9.7. How to Trigger Content Generation by Users?

9.7.1. The Prosumer after COVID
9.7.2. Contests, Sweepstakes and Campaigns
9.7.3. Connection with Social Networks and Transmedia 

9.8. Content Planning and Measurement I

9.8.1. Types of Content and Writing
9.8.2. Content Structuring

9.9. Content Planning and Measurement II

9.9.1. Measurement of Actions in Social Networks
9.9.2. Impact on Google
9.9.3. Decision-Making

9.10. Development of Contents in Blogs and their Movement through Networks

9.10.1. The Importance of Blogging Today
9.10.2. Techniques for Content Movement through Networks
9.10.3. Crisis Resolution

Module 10. Branded Content: Brands like Publishers

10.1. The Traditional Advertising Model: Push

10.1.1. Key Aspects of Push Communication Strategies
10.1.2. Origins and Evolution
10.1.3. The Future of Push Strategies 

10.2. The New Pull Model 

10.2.1. Key Aspects of Pull Communication Strategies
10.2.2. Origins and Current Context
10.2.3. Keys to Success

10.3. Branded Content

10.3.1. Branded Content, Content Marketing and Native Advertising
10.3.2. How to Identify Branded Content

10.4. Brands like Publishers: Implications

10.4.1. The New Value Chain
10.4.2. Implications
10.4.3. Models

10.5.  Branded Content and its Role in the Communication Mix

10.5.1. Current Context
10.5.2. Branded Content and Brand Purpose
10.5.3. Inspiring Case Studies

10.6. The Coexistence of Content and Advertising

10.6.1. Differences
10.6.2. Contribution to Brand Equity
10.6.3. Examples of Coexistence

10.7. Branded Content: Formats and Genres

10.7.1. Genre
10.7.2. Other Approaches, Other Genres
10.7.3. Formats

10.8. Creation Methodology of Branded Content

10.8.1. Strategy
10.8.2. Ideation
10.8.3. Production

10.9. The Importance of Promotion in Branded Content

10.9.1. Methodology
10.9.2. Phases
10.9.3. Formats

10.10. Measuring the Effectiveness of Branded Content

10.10.1. How to Measure a BC Project?
10.10.2. Qualitative and Quantitative Measurement
10.10.3. Metrics and KPIs

Make the most of the opportunity and take the step to get up to date on the latest developments in Transmedia Communication"