Why study at TECH?

With a well cared and worked Personal Branding, you will be able to reach the most privileged positions"

abanca mercados financieros_1

Why Study at TECH?

TECH is the world's largest 100% online business school. It is an elite business school, with a model based on the highest academic standards. A world-class centre for intensive managerial skills training.   

TECH is a university at the forefront of technology, and puts all its resources at the student's disposal to help them achieve entrepreneurial success"

At TECH Technological University

idea icon


The university offers an online learning model that combines the latest educational technology with the most rigorous teaching methods. A unique method with the highest international recognition that will provide students with the keys to develop in a rapidly-evolving world, where innovation must be every entrepreneur’s focus.

"Microsoft Europe Success Story", for integrating the innovative, interactive multi-video system.  
head icon

The Highest Standards

Admissions criteria at TECH are not economic. Students don't need to make a large investment to study at this university. However, in order to obtain a qualification from TECH, the student's intelligence and ability will be tested to their limits. The institution's academic standards are exceptionally high...  

95% of TECH students successfully complete their studies.
neuronas icon


Professionals from countries all over the world attend TECH, allowing students to establish a large network of contacts that may prove useful to them in the future.  

100,000+ executives trained each year, 200+ different nationalities.
hands icon


Students will grow hand in hand with the best companies and highly regarded and influential professionals. TECH has developed strategic partnerships and a valuable network of contacts with major economic players in 7 continents.  

500+ collaborative agreements with leading companies.
star icon


This program is a unique initiative to allow students to showcase their talent in the business world. An opportunity that will allow them to voice their concerns and share their business vision. 

After completing this program, TECH helps students show the world their talent. 
earth icon

Multicultural Context 

While studying at TECH, students will enjoy a unique experience. Study in a multicultural context. In a program with a global vision, through which students can learn about the operating methods in different parts of the world, and gather the latest information that best adapts to their business idea. 

TECH students represent more than 200 different nationalities.   
master finanzas
human icon

Learn with the best

In the classroom, TECH teaching staff discuss how they have achieved success in their companies, working in a real, lively, and dynamic context. Teachers who are fully committed to offering a quality specialization that will allow students to advance in their career and stand out in the business world. 

Teachers representing 20 different nationalities. 

TECH strives for excellence and, to this end, boasts a series of characteristics that make this university unique:   

brain icon


TECH explores the student’s critical side, their ability to question things, their problem-solving skills, as well as their interpersonal skills.  

micro icon

Academic Excellence 

TECH offers students the best online learning methodology. The university combines the Relearning method (a postgraduate learning methodology with the highest international rating) with the Case Study. A complex balance between tradition and state-of-the-art, within the context of the most demanding academic itinerary.  

corazon icon

Economy of Scale 

TECH is the world’s largest online university. It currently boasts a portfolio of more than 10,000 university postgraduate programs. And in today's new economy, volume + technology = a ground-breaking price. This way, TECH ensures that studying is not as expensive for students as it would be at another university.  

At TECH, you will have access to the most rigorous and up-to-date case studies in the academic community”

Structure and content

The management of an audiovisual company requires a profile of excellence. For that reason, TECH has developed a program that focuses on ensuring compliance with the labor requirements that today's world demands. Through a 100% online modality, the professional will have the opportunity to identify the differences between the different ways of approaching the study of audiovisual reception and the current state of the art. In this way, you will be able to take 12 months of learning in a unique and stimulating way, following practical examples and the guidance of a specialist faculty in this area. 

Interpret, analyze and comment on a television format from a professional, aesthetic and cultural perspective" 


The various changes that have developed in the audiovisual industry have been enhanced by different factors, such as the industrial revolution, social changes and, of course, the advance of technology. Thus, it has become essential to have professionals who have a thorough understanding of a range of knowledge in these different areas.

The Professional Master’s Degree program ensures that students fully understand the tools they need to organize and manage the processes of the different departments involved in an audiovisual production. For this reason, the syllabus will begin with a review of the concepts of industry and culture, as well as the technique focused on the realization of projects from a theoretical and practical point of view.

In this way, everything you will learn will be converted into real working skills that will allow you to boost your capacity intensively. In this way, the future graduate will understand the structure of the audiovisual system and the way in which the production of this type of content contemplates its financing and its investment valuation in terms of costs and benefits.

Throughout 1,500 hours of learning, the student will analyze a multitude of case studies through individual and teamwork. Thus, they will be able to know the bases that determine the direction of actors in fiction and the creation of narrative discourse.

Students will also be motivated to learn in depth about the new genres and formats that are being used in TV. Know how to make use of information through social networks and develop a communication plan. In this way, a program focused on the current demands of this sector is created that will prepare graduates to face the challenges of managing a department in this field.

This program takes place over 12 months and is divided into 10 modules:

Module 1. Cultural Journalism
Module 2. Theory and Technique of Production
Module 3. Structure of the Audiovisual System
Module 4. Audiovisual Production
Module 5. Fiction Production and Acting Direction
Module 6. Cultural Industries and New Communication Business Models
Module 7. Management and Promotion of Audiovisual Products
Module 8. Television Genres, Formats and Programming
Module 9. Audiovisual Audiences
Module 10. Television Scriptwriting: Programs and Fiction

master online mba en gestión y dirección de clínicas dentales

Where, When and How is it Taught?

TECH offers the possibility of taking this program completely online. During the 12 months of training, the student will be able to access all the contents of this program at any time, which will allow him/her to self-manage his/her study time. 

Module 1. Cultural Journalism

1.1. Concept and Delimitations of Cultural Journalism

1.1.1. Introduction: The Concept of Culture
1.1.2. Cultural Art Information
1.1.3. Cultural Information on the Performing Arts
1.1.4. Film Cultural Information
1.1.5. Music Cultural Information
1.1.6. Cultural Information in Books

1.2. The Origins of Cultural Journalism

1.2.1. Introduction
1.2.2. The Origins of Cultural Information in the Press
1.2.3. The Origins of Cultural Information on the Radio
1.2.4. The Origins of Cultural Information on Television

1.3. The Practice of Cultural Journalism

1.3.1. Introduction
1.3.2. General Considerations
1.3.3. Factors of Interest and Evaluation Criteria for the Elaboration of Cultural Information

1.4. The Sources of Cultural Journalism

1.4.1. Introduction
1.4.2. General Sources of Cultural Information
1.4.3. Specific Sources of Audiovisual Information on Culture

1.5. Genres in Cultural Information

1.5.1. Introduction
1.5.2. News
1.5.3. Interview
1.5.4. Chronicle
1.5.5. Report

1.6. The Current Diversification of Cultural Information in the Press, Radio and Television

1.6.1. Introduction
1.6.2. Cultural Information in the Press
1.6.3. Cultural Information on the Radio
1.6.4. Cultural Information on Television

1.7. Culture and Internet

1.7.1. Introduction
1.7.2. Culture and Internet
1.7.3. Benefits of Culture

1.8. Cultural Marketing

1.8.1. Introduction
1.8.2. Cultural Marketing
1.8.3. How is Cultural Marketing Conducted?

1.9. Analysis of Culture

1.9.1. Introduction
1.9.2. Theoretical and Methodological Approach to Culture
1.9.3. Culture, Communication and Meaning
1.9.4. Culture and Imaginaries

1.10. Cyberculture and Digital Journalism of Cultural Contents

1.10.1. Introduction
1.10.2. Definition of Cyberculture
1.10.3. Digital Journalism of Cultural Content
1.10.4. Keys to Digital Journalism of Cultural Content

Module 2. Theory and Technique of Production

2.1. Production as the Construction of the Audiovisual Work. The Work Equipment

2.1.1. From the Literary Script to the Technical Script or Playbill
2.1.2. The Work Equipment

2.2. The Elements of the Screen Layout. Construction Materials

2.2.1. Spatial Pre-Adaptation. Art Direction
2.2.2. The Elements of the Screen Layout

2.3. Pre-Production. Implementation Documents

2.3.1. Technical Script
2.3.2. The Scenographic Plan
2.3.3. Storyboard
2.3.4. Plan
2.3.5. The Shooting Plan

2.4. The Expressive Value of Sound

2.4.1. Typology of Sound Elements
2.4.2. Construction of Sound Space

2.5. The Expressive Value of Light

2.5.1. Expressive Value of Light
2.5.2. Basic Lighting Techniques

2.6. Basic Single-Camera Shooting Techniques

2.6.1. Uses and Techniques of Single-Camera Shooting
2.6.2. Found Footage Subgenre Fiction and Documentary Films
2.6.3. Single-Camera Production in Television

2.7. Assembly

2.7.1. Assembly as an Ensemble. Space-Time Reconstruction
2.7.2. Non-Linear Assembly Techniques

2.8. Post-Production and Color Grading

2.8.1. Postproduction
2.8.2. Vertical Mounting Concept
2.8.3. Color Correction

2.9. Formats and Production Equipment

2.9.1. Multi-Camera Formats
2.9.2. The Study and the Team

2.10. Keys, Techniques and Routines in Multi-Camera Production

2.10.1. Multi-Camera Techniques
2.10.2. Some Common Formats

Module 3. Structure of the Audiovisual System

3.1. An Introduction to Cultural Industries (C.I.)

3.1.1. Concepts of Culture. Culture-Communication
3.1.2. C.I. Theory and Evolution: Typology and Models

3.2. Film Industry I

3.2.1. Main Characteristics and Agents
3.2.2. Structure of the cinematographic System

3.3. Film Industry II

3.3.1. The U.S. Film Industry
3.3.2. Independent Production Companies
3.3.3. Problems and Debates in the Film Industry

3.4. Film Industry III

3.4.1. Film Regulation: State and Culture. Policies for the Protection and Promotion of Cinematography
3.4.2. Case Study

3.5. Television Industry I

3.5.1. Economic Television
3.5.2. Founder Models
3.5.3. Transformations

3.6. Television Industry II

3.6.1. The U.S. Television Industry
3.6.2. Main Features
3.6.3. State Regulation

3.7. Television Industry III

3.7.1. Public Service Television in Europe
3.7.2. Crises and Debates

3.8. Axes of Change

3.8.1. New Processes in the Audiovisual Industry
3.8.2. Regulatory Discussions

3.9. Digital Terrestrial Television (DTT)

3.9.1. Role of the State and Experiences
3.9.2. The New Features of the Television System

3.10. New Operators in the Audiovisual Landscape

3.10.1. Service Platforms Over-The-Top (OTT)
3.10.2. Consequences of its Appearance

Module 4. Audiovisual Production

4.1. Audiovisual Production 

4.1.1. Introductory Concepts 
4.1.2. The Audiovisual Industry 

4.2. The Production Equipment 

4.2.1. Professionals 
4.2.2. The Producer and the Script 

4.3. The Audiovisual Project 

4.3.1. Project Management 
4.3.2. Evaluation of a Project 
4.3.3. Presentation of Projects

4.4. Production and Financing Modalities 

4.4.1. Financing of Audiovisual Production 
4.4.2. Modes of Audiovisual Production 
4.4.3. Resources for Pre-Financing

4.5. The Production Team and the Script Breakdown 

4.5.1. The Production Equipment 
4.5.2. The Breakdown of the Script

4.6. The Shooting Locations 

4.6.1. Locations 
4.6.2. Scenery 

4.7. Casting and Filming Contracts 

4.7.1. Casting 
4.7.2. CastingTests 
4.7.3. Contracts, Rights and Insurance

4.8. The Work Plan and the Budget of the Audiovisual Work 

4.8.1. Work Plan 
4.8.2. Budget 

4.9. Production in Filming or Recording 

4.9.1. Preparation for Filming 
4.9.2. Filming Equipment and Means 

4.10. Post-Production and the Final Assessment of the Audiovisual Work 

4.10.1. Editing and Post-Production 
4.10.2. Balance Sheet and Operations

Module 5. Fiction Production and Acting Direction

5.1. Fiction Production 

5.1.1. Introduction 
5.1.2. Process and Tools 

5.2. Optics and Camera

5.2.1. Optics and Framing 
5.2.2. Camera Movement 
5.2.3. Continuity 

5.3. Theoretical Aspects of Light and Color 

5.3.1. Exhibition 
5.3.2. Color Theory 

5.4. Lighting in the Cinema 

5.4.1. Tools 
5.4.2. Lighting as Narrative 

5.5. Color and Optics 

5.5.1. Color Control 
5.5.2. The Opticians 
5.5.3. Image Control 

5.6. Work on the Set 

5.6.1. The List of Drawings 
5.6.2. The Team and its Functions 

5.7. Technical Issues in Film Directing 

5.7.1. Technical Resources 

5.8. The Vision of the Directors 

5.8.1. Directors Take the Floor

5.9. Digital Transformation  

5.9.1. Analog-Digital Transformations in Cinematographic Photography  
5.9.2. The Reign of Digital Post-Production

5.10. Direction of Actors 

5.10.1. Introduction 
5.10.2. Main Methods and Techniques 
5.10.3. Working with Actors

Module 6.  Cultural Industries and New Communication Business Models

6.1. The Concepts of Culture, Economy, Communication, Technology, IC 

6.1.1. Culture, Economy, Communication  
6.1.2. Cultural Industries 

6.2. Technology, Communication and Culture 

6.2.1. Craft Culture Commoditized 
6.2.2. From Live Performance to Visual Arts  
6.2.3. Museums and Heritage 

6.3. The Major Sectors of the Cultural Industries 

6.3.1. Editorial Products 
6.3.2. Flow C.I.’s  
6.3.3. Hybrid Models 

6.4. The Digital Era in the Cultural Industries 

6.4.1. Digital Cultural Industries 
6.4.2. New models in the Digital Era  

6.5. Digital Media and Media in the Digital Age  

6.5.1. The Online Press Business 
6.5.2. The Radio in the Digital Environment 
6.5.3. Particularities of the Media in the Digital Age 

6.6. Globalization and Diversity in Culture 

6.6.1. Concentration, Internationalization and Globalization of Cultural Industries  
6.6.2. The Struggle for Cultural Diversity 

6.7. Cultural and Cooperation Policies 

6.7.1. Cultural Policies  
6.7.2. The Role of States and Country Regions  

6.8. Musical Diversity in the Cloud 

6.8.1. The Music Industry Today 
6.8.2. The Cloud 
6.8.3. Latin/Iberoamerican Initiatives 

6.9. Diversity in the Audiovisual Industry 

6.9.1. From Pluralism to Diversity 
6.9.2. Diversity, Culture and Communication 
6.9.3. Conclusions and Suggestions 

6.10. Audiovisual Diversity on the Internet 

6.10.1. The Audiovisual System in the Internet Era 
6.10.2. Television Offering and Diversity 
6.10.3. Conclusions 

Module 7.  Management and Promotion of Audiovisual Products

7.1. Audiovisual Distribution  

7.1.1. Introduction 
7.1.2. Distribution Players 
7.1.3. Marketing Products 
7.1.4. The Fields of Audiovisual Distribution  
7.1.5. National Distribution 
7.1.6. International Distribution 

7.2. Distribution Companies   

7.2.1. Organizational Structures 
7.2.2. Negotiation of the Distribution Contract 
7.2.3. International Customers 

7.3. Operating Windows, Contracts and International Sales  

7.3.1. Operating Windows 
7.3.2. International Distribution Contracts 
7.3.3. International Sales 

7.4. Film Marketing   

7.4.1. Film Marketing 
7.4.2. The Film Production Value Chain 
7.4.3. Advertising Media at the Service of Promotion 
7.4.4. Launching Tools 

7.5. Market Research in Film    

7.5.1. Introduction 
7.5.2. Preproduction stage 
7.5.3. Post-production Stage 
7.5.4. Commercialization Stage 

7.6. Social Networks and Film Promotion  

7.6.1. Introduction 
7.6.2. Promises and Limits of Social Networking  
7.6.3. Objectives and Their Measurement 
7.6.4. Promotion Calendar and Strategies  
7.6.5. Interpreting What Networks Are Saying 

7.7. Audiovisual Distribution on the Internet I    

7.7.1. The New World of Audiovisual Distribution 
7.7.2. The Internet Distribution Process 
7.7.3. Products and Possibilities in the New Scenario 
7.7.4. New Distribution Modes 

7.8. Audiovisual Distribution on the Internet II    

7.8.1. Keys to the New Scenario 
7.8.2. The Dangers of Internet Distribution 
7.8.3. Video on Demand (VOD) as a New Window for Distribution 

7.9. New Spaces for Distribution  

7.9.1. Introduction 
7.9.2. The Netflix Revolution

7.10. Film Festivals 

7.10.1. Introduction 
7.10.2. The Role of Film Festivals in Distribution and Exhibition 

Module 8. Television Genres, Formats and Programming 

8.1. Genre in Television   

8.1.1. Introduction 
8.1.2. Television Genres 

8.2. Format in Television    

8.2.1. Approach to the Concept of Format 
8.2.2. Television Formats

8.3. Creating Television     

8.3.1. The Creative Process in Entertainment 
8.3.2. The Creative Process in Fiction 

8.4. Evolution of Formats in Today’s International Market I     

8.4.1. Consolidation of the Format 
8.4.2. The Reality TV Format 
8.4.3. News in Reality TV 
8.4.4. Digital Terrestrial Television and Financial Crisis 

8.5. Evolution of Formats in Today’s International Market II    

8.5.1. Emerging Markets 
8.5.2. Global Brands 
8.5.3. Television Reinvents Itself 
8.5.4. The Ae of Globalization 

8.6. Selling the Format. Pitching      

8.6.1. Sale of a Television Format 
8.6.2. Pitching 

8.7. Introduction to Television Programs

8.7.1. The Role of Programs 
8.7.2. Factors Affecting Programs 

8.8. Television Programs Models  

8.8.1. United States and United Kingdom 
8.8.2. Spain  

8.9. The Professional Practice of Television Programs    

8.9.1. The Programs Department 
8.9.2. Programs for Television 

8.10. Study of Audiences   

8.10.1. Television Audience Research 
8.10.2. Audience Concepts and Ratings 

Module 9. Audiovisual Audiences

9.1. Audiences in the Audiovisual Media

9.1.1. Introduction
9.1.2. The Constitution of the Hearings

9.2. The Study of Audiences: Traditions I

9.2.1. Theory of Effects
9.2.2. Theory of Uses and Gratifications
9.2.3. Cultural Studies

9.3. The Study of Audiences: Traditions II

9.3.1. Studies conducted on Reception
9.3.2. Audiences for Humanistic Studies

9.4. Audiences from an Economic Perspective

9.4.1. Introduction
9.4.2. Audience Measurement

9.5. Theories of Reception

9.5.1. Introduction to Reception Theories
9.5.2. Historical Approach to Reception Studies

9.6. Audiences in the Digital World

9.6.1. Digital Environment
9.6.2. Communication and Convergence Culture
9.6.3. The Active Nature of the Audiences
9.6.4. Interactivity and Participation
9.6.5. The Transnationality of Audiences
9.6.6. Fragmented Audiences
9.9.7. The Autonomy of Audiences

9.7. Audiences: The Essential Questions I

9.7.1. Introduction
9.7.2. Who Ae They?
9.7.3. Why Do They Consume?

9.8. Audiences: The Essential Questions II

9.8.1. What They Consume
9.8.2. How They Consume
9.8.3. With What Effects

9.9. The Engagement Model I

9.9.1. Engagement as a Metadimension of Audience Behavior
9.9.2. The Complex Assessment of Engagement

9.10. The Engagement Model II

9.10.1. Introduction. The Dimensions of Engagement
9.10.2. Engagement and User Experiences
9.10.3. Engagement as an Emotional Response from Audiences
9.10.4. Engagement as a Result of Human Cognition
9.10.5. The Observable Behaviors of Audiences as an Expression of Engagement

Module 10.  Television Scriptwriting: Programs and Fiction

10.1. Television Fiction    

10.1.1. Concepts and Limits 
10.1.2. Codes and Structures 

10.2. Narrative Categories in Television  

10.2.1. The Enunciation 
10.2.2. Characters 
10.2.3. Actions and Transformations 
10.2.4. The Space 
10.2.5. The Weather 

10.3. Television Genres and Formats  

10.3.1. Narrative Units 
10.3.2. Television Genres and Formats 

10.4. Fiction Formats  

10.4.1. Television Fiction 
10.4.2. Situation Comedy 
10.4.3. Dramatic Series 
10.4.4. The Soap Opera 
10.4.5. Other Formats 

10.5. The Fiction Script in Television  

10.5.1. Introduction 
10.5.2. The Technique 

10.6. The Television Drama  

10.6.1. Dramatic Series 
10.6.2. The Soap Opera 

10.7. Comedy Series  

10.7.1. Introduction 
10.7.2. The Sitcom 

10.8. The Entertainment Script  

10.8.1. The Script Step by Step 
10.8.2. Writing to Say 

10.9. Entertainment Script Writing 

10.9.1. Script Meeting 
10.9.2. Technical Script 
10.9.3. Production Breakdown 
10.9.4. The Playbill 

10.10. Entertainment Script Design

10.10.1. Magazin 
10.10.2. Humor Program 
10.10.3. Talent Show 
10.10.4. Documentaries 
10.10.5. Other Formats