Grow and focus your professional future in the audiovisual sector thanks to this Hybrid Master's Degree"

The journalistic profession continues to undergo continuous transformation, while maintaining the essence of transmitting truthful information to society. The great strength of the audiovisual component in communication has prevailed in the last decade with the emergence of new television and radio formats, while social networks have further enhanced the moving image as opposed to the static or the word.

This Hybrid Master's Degree provides the professional with a specialization in a field with a wide range of job opportunities and greater demand from companies in the communications sector. The syllabus covers from the writing process to communication to enter fully into journalism in television and radio, in addition to the main media through which the audiovisual sector is developed.

Likewise, this teaching brings the student closer to the latest communicative developments in digital journalism and the most important social networks. The students, in order to achieve greater knowledge, have at their disposal multimedia content with video summaries of each topic and case studies that will provide a more complete learning.

This Hybrid Master's Degree has an Internship Program where the professional will be able to apply everything learned in this degree in a reference company in the audiovisual sector, thus living a broader educational experience. For this purpose, they will have an assistant tutor of high prestige. This expert will be in charge of monitoring their progress and will offer them the opportunity to take part in creative projects and initiatives in the first person.

Through this involved figure, the student will easily master the productive dynamics of these kinds of centers and, little by little, will develop the most sought-after skills in the labor market. Therefore, upon completing the degree, they will be able to access the most competitive and demanding positions in this field of work.

Delve into the new journalistic genres, advance in your profession thanks to this Hybrid Master's Degree"

This Hybrid Master's Degree in Broadcast Journalism contains the most complete and up-to-date program on the market. The most important features include: 

• Over 100 cases presented by Communication Management experts 
• 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
• The development of practical cases presented by experts in Broadcast Journalism
• New developments in Broadcast Journalism 
• Practical exercises where self-assessment can be used to improve learning 
• Special emphasis on innovative methodologies in Broadcast Journalism 
• The interactive learning system based on algorithms for decision-making on the situations posed in Broadcast Journalism 
• Content that is accessible from any fixed or portable device with an Internet connection 
• In addition, you will be able to complete an internship in one of the best photography companies in the sector

Take an intensive 3-week internship in a company of the sector and complete your learning with the best"

In this Hybrid Master's Degree, the program is aimed to update communication professionals who work in companies of the audiovisual sector and who require a high level of qualification. The contents are based on the latest scientific evidence, and oriented in a didactic way to integrate theoretical knowledge in the communicative practice, and the theoretical-practical elements will facilitate the updating of knowledge and will allow the realization of audiovisual works and projects.

Thanks to its multimedia content elaborated with the latest educational technology, they will allow the communication professional a situated and contextual learning, that is to say, a simulated environment that will provide an immersive learning programmed to train 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 during the course. For this purpose, the student will be assisted by an innovative interactive video system created by renowned experts.

Delve into journalism 2.0 and launch your projects in the field of Broadcast Journalism successfully"

Specialize in a sector with a wide range of job opportunities. The image has won the battle against the word. Click and join the audiovisual sector"

The syllabus of this Hybrid Master's Degree has been designed to provide students with a broad overview of journalism. From written journalism to digital 2.0. In this way, so that students acquire a broad and deep knowledge of each journalistic genre, its evolution and the importance that has gained in recent times the audiovisual field and new technologies. The case studies of the modules that make up this teaching and the Relearning system, based on the reiteration of content, will provide the professional with a useful and applicable learning in their day to day work.

Learn directly from professionals in the audiovisual sector who will provide you with all their knowledge"

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 III. 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. The Chronicle of Shows 
2.4.5. The Sports Chronicle

2.5. The Report I. Definition, Origins and Typology

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

2.6.  Reporting II. Idea, Approach and Research

2.6.1. Introduction
2.6.2. Poor Pedagogy of Reporting
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.  Reporting III. Structure and Writing

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

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 IV. 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, a Change of Gears 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. 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. 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 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. Television newsroom organization
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 Reporting 
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 Shows

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. 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. 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. Post Structure
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

Enter fully into the cyberjournalism genres with this Hybrid Master's Degree. Enroll now”