A comprehensive and 100% online program, exclusive to TECH , with an international perspective backed by our membership in the Business Graduates Association” 

The contemporary audiovisual ecosystem is in constant evolution, marked by technological convergence, the expansion of digital content, and the emergence of new business models. In this context, the strategic management of audiovisual projects requires skills that go beyond technical knowledge, integrating a global market vision, creative leadership competencies, and business management capabilities. The consolidation of platforms such as Netflix, Amazon Prime, and Disney+ has radically changed the value chain of the sector.  

In response to this reality, TECH has developed a Master's Degree in MBA in Audiovisual Business Management that meets the demands of a competitive, digital, and innovation-oriented environment. Furthermore, this academic opportunity allows professionals in design, management, and related fields to deepen their knowledge in key areas such as content financing, marketing of audiovisual products, strategic planning, and the management of rights and licenses, as well as leadership, digital communication, and sustainable business models. 

This innovative university program is delivered through a 100% online methodology, promoting autonomous and flexible learning, with no fixed schedules and access to high-quality multimedia resources. This structure is supported by TECH’s exclusive Relearning learning method, designed to reinforce skill acquisition through the intelligent reiteration of content. As a distinctive feature, this high-level qualification includes a series of Masterclasses led by International Guest Experts.  

Furthermore, thanks to TECH's membership in the Business Graduates Association (BGA), students will have access to exclusive and up-to-date resources that will strengthen their continuous learning and professional development, as well as discounts on professional events that will facilitate networking with industry experts. Additionally, they will be able to expand their professional network by connecting with specialists from different regions, fostering the exchange of knowledge and new job opportunities.  

You will enjoy comprehensive Masterclasses led by internationally renowned Guest Directors” 

This Master's Degree in MBA in Audiovisual Business Management contains the most complete and up-to-date university program on the market. Its most notable features are:

• The development of practical cases presented by experts in Audiovisual Business Management 
• 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 
• Practical exercises where self-assessment can be used to improve learning 
• Special emphasis on innovative methodologies in Audiovisual Business Management 
• 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 

From independent production to major platforms, you will develop a highly competitive profile that stands out in the global job market”

The program’s teaching staff includes professionals from the sector who contribute their work experience to this educational 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 immersive education programmed to learn in real situations.

The design of this program focuses on Problem-Based Learning, through which the professional will be required to address various real-world situations presented throughout the university program. For this purpose, students will be assisted by an innovative interactive video system created by renowned experts.

Through a dynamic and adaptive methodology, TECH transforms your academic experience into a journey toward business leadership"

Explore a high-performance digital ecosystem designed to enhance your creativity, strategic vision, and decision-making skills"

During this academic opportunity, graduates will develop key competencies in the comprehensive management of audiovisual projects, from content production and creation to the strategic management of companies in the sector. This comprehensive pathway will cover the analysis of the audiovisual system, leadership of creative teams, promotion of media products, and understanding of audience behavior. It will also delve into essential areas such as talent management, strategic marketing, financial management, and new cultural business models. A rigorous and up-to-date proposal that enhances the executive vision of professionals linked to the audiovisual industry.

You will immerse yourself in the dynamics of scripting, production, and the market, developing a cross-cutting vision of the audiovisual environment”

Module 1. Cultural Journalism

1.1. Cultural Journalism in the Conventional Media and Its integration in the Digital World
1.2. The Art of Storytelling
1.3. Essential Guides to Cultural Journalism Documentation
1.4. The 3.0 Philosophy of Communication
1.5. Media and Social Media Management
1.6. Interactive Journalistic Content
1.7. Communication Disorders
1.8. Web Positioning: SEO, SEM, SMO, SMM and SERM. Specialized Journalistic Contents

Module 2. Theory and Techniques of Production

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

2.1.1. From the Literary Script to the Technical Script or Outline
2.1.2. The Production Team

2.2. The Elements of On-Screen Presentation. Construction Materials

2.2.1. Spatial Pre-Adaptation. Art Direction
2.2.2. The Elements of On-Screen Presentation

2.3. Pre-Production. The Production Documents

2.3.1. The Technical Script
2.3.2. The Set Design Plan
2.3.3. The Storyboard
2.3.4. Planning
2.3.5. The Shooting Schedule

2.4. The Expressive Value of Sound

2.4.1. Types of Sound Elements
2.4.2. Construction of the 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. The Found Footage Subgenre. Fiction and Documentary Films
2.6.3. Single-Camera Production in Television

2.7. Editing

2.7.1. Editing as Assembly. The Reconstruction of Space-Time
2.7.2. Non-Linear Editing Techniques

2.8. Post-Production and Color Grading

2.8.1. Post-Production
2.8.2. Vertical Editing Concept
2.8.3. Color Grading

2.9. Formats and the Production Team

2.9.1. Multi-Camera Formats
2.9.2. The Studio and Equipment

2.10. Key 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

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

3.3. Film Industry

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

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. The Axes of Change

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

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 Team

4.2.1. The Professionals
4.2.2. The Producer and the Script

4.3. The Audiovisual Project

4.3.1. Project Management
4.3.2. Project Evaluation
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 Team
4.5.2. Script Breakdown

4.6. The Shooting Areas

4.6.1. Locations
4.6.2. The Scenery

4.7. Casting and Film Contracts

4.7.1. Casting
4.7.2. The Casting Audition
4.7.3. BORRAR

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

4.8.1. The Work Plan
4.8.2. The Budget

4.9. Production During the Shoot or Recording

4.9.1. Preparation for the Shoot
4.9.2. The Equipment and Resources for the Shoot

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

4.10.1. Editing and Post-Production
4.10.2. Final Balance and Exploitation

Module 5. Fiction Production and Direction of Actors

5.1. Fiction Production

5.1.1. Introduction
5.1.2. The Process and its 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 Optics
5.5.3. Image Control

5.6. Work on the Shoot

5.6.1. The Shot List
5.6.2. The Crew and Their Roles

5.7. Technical Issues for Film Direction

5.7.1. Technical Resources

5.8. The Vision of the Directors

5.8.1. Directors Take the Floor

5.9. Digital Transformations

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

5.10. Actor Direction

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

Module 6. Cultural Industries and New Business Models in Communication

6.1. The Concepts of Culture, Economy, Communication, Technology, and CI

6.1.1. Culture, Economy and Communication
6.1.2. Cultural Industries

6.2. Technology, Communication, and Culture

6.2.1. The Commercialized Craft Culture
6.2.2. From Live Performance to Fine 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 Cultural Industries
6.3.3. Hybrid Models

6.4. The Digital Age in the Cultural Industries

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

6.5. Digital Media and Communication in the Digital Era

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

6.6. Globalization and Diversity in Culture

6.6.1. Concentration, Internationalization, and Globalization of the 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 Regions in Countries

6.8. Musical Diversity in the Cloud

6.8.1. The Music Sector Today
6.8.2. The Cloud
6.8.3. Latin/Ibero-American 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 Proposals

6.10. Audiovisual Diversity on the Internet

6.10.1. The Audiovisual System in the Internet Era
6.10.2. Television Programming 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. The Actors in Distribution
7.1.3. The Commercialization Products
7.1.4. The Areas of Audiovisual Distribution
7.1.5. International Distribution

7.2. The Distribution Company

7.2.1. Organizational Structure
7.2.2. Negotiating the Distribution Contract
7.2.3. International Clients

7.3. Exploitation Windows, Contracts, and International Sales

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

7.4. Film Marketing

7.4.1. Marketing in Cinema
7.4.2. The Value Chain of Film Production
7.4.3. Advertising Media for Promotion
7.4.4. Launch Tools

7.5. Market Research in Cinema

7.5.1. Introduction
7.5.2. Pre-Production Phase
7.5.3. Post-Production Phase
7.5.4. Commercialization Phase

7.6. Social Media and Film Promotion

7.6.1. Introduction
7.6.2. Promises and Limits of Social Media
7.6.3. Objectives and their Measurement
7.6.4. Promotion Calendar and Strategies
7.6.5. Interpreting What Social Media Say

7.7. Audiovisual Distribution on the Internet I

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

7.8. Audiovisual Distribution on the Internet II

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

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. An Overview of the Format Concept
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 the Current International Market I

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

8.5. Evolution of Formats in the Current International Market II

8.5.1. Emerging Markets
8.5.2. Global Brands
8.5.3. Television Reinvented
8.5.4. The Era of Globalization

8.6. Selling the Format. The Pitching

8.6.1. Selling a Television Format
8.6.2. The Pitching

8.7. Introduction to Television Programming

8.7.1. The Function of Programming
8.7.2. Factors Affecting Programming

8.8. Television Programming Models

8.8.1. United States and United Kingdom

8.9. The Professional Practice of Television Programming

8.9.1. The Programming Department
8.9.2. Programming for Television

8.10. Audience Study

8.10.1. Audience Research in Television
8.10.2. Audience Concepts and Ratings

Module 9. The Audiovisual Audience

9.1. Audiences in Audiovisual Media

9.1.1. Introduction
9.1.2. The Constitution of Audiences

9.2. The Study of Audiences: Traditions I

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

9.3. The Study of Audiences: Traditions II

9.3.1. Reception Studies
9.3.2. Audiences and Humanist Studies

9.4. Audiences from an Economic Perspective

9.4.1. Introduction
9.4.2. Audience Measurement

9.5. Reception Theories

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 Audiences
9.6.4. Interactivity and Participation
9.6.5. The Transnationality of Audiences
9.6.6. Fragmented Audiences
9.6.7. The Autonomy of Audiences

9.7. Audiences: The Essential Questions I

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

9.8. Audiences: Essential Questions II

9.8.1. What Do they Consume?
9.8.2. How Do they Consume?
9.8.3. With What Effects?

9.9. The Engagement Model I

9.9.1. Engagement as a Meta-Dimension of Audience Behavior
9.9.2. The Complex Evaluation 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. Observable Audience Behaviors as an Expression of Engagement

Module 10. Television Scripts: Programs and Fiction

10.1. Television Narrative

10.1.1. Concepts and Boundaries
10.1.2. Codes and Structures

10.2. Narrative Categories in Television

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

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. Sitcoms
10.4.3. Drama 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. Drama on Television

10.6.1. The Drama Series
10.6.2. The Soap Opera

10.7. Comedy Series

10.7.1. Introduction
10.7.2. Sitcoms

10.8. The Entertainment Script

10.8.1. Step-by-Step Scriptwriting
10.8.2. Writing to Speak

10.9. Writing the Entertainment Script

10.9.1. Script Meeting
10.9.2. Technical Script
10.9.3. Production Breakdown
10.9.4. Outline

10.10. Designing the Entertainment Script

10.10.1. Magazine Show
10.10.2. Comedy Show
10.10.3. Talent Show
10.10.4. Documentaries
10.10.5. Other Formats

Module 11. Leadership, Ethics and Social Responsibility in Companies

11.1. Globalization and Governance 

11.1.1. Governance and Corporate Governance 
11.1.2. The Fundamentals of Corporate Governance in Companies 
11.1.3. The Role of the Board of Directors in the Corporate Governance Framework 

11.2. Leadership

11.2.1. Leadership. A Conceptual Approach
11.2.2. Leadership in Companies
11.2.3. The Importance of Leaders in Business Management

11.3. Cross-Cultural Management 

11.3.1. Cross-Cultural Management Concept 
11.3.2. Contributions to Knowledge of National Cultures 
11.3.3. Diversity Management 

11.4. Management and Leadership Development

11.4.1. Concept of Management Development
11.4.2. Concept of Leadership
11.4.3. Leadership Theories
11.4.4. Leadership Styles
11.4.5. Intelligence in Leadership
11.4.6. The Challenges of Today’s Leader

11.5. Business Ethics

11.5.1. Ethics and Morality
11.5.2. Business Ethics
11.5.3. Leadership and Ethics in Companies

11.6. Sustainability

11.6.1. Sustainability and Sustainable Development
11.6.2. The 2030 Agenda
11.6.3. Sustainable Companies

11.7. Corporate Social Responsibility 

11.7.1. International Dimensions of Corporate Social Responsibility 
11.7.2. Implementing Corporate Social Responsibility 
11.7.3. The Impact and Measurement of Corporate Social Responsibility 

11.8. Responsible Management Systems and Tools

11.8.1. CSR: Corporate Social Responsibility (CSR)
11.8.2. Essential Aspects for Implementing a Responsible Management Strategy
11.8.3. Steps for the Implementation of a Corporate Social Responsibility Management System
11.8.4. CSR Tools and Standards

11.9. Multinationals and Human Rights

11.9.1. Globalization, Multinational Corporations and Human Rights
11.9.2. Multinational Corporations and International Law
11.9.3. Legal Instruments for Multinationals in the Area of Human Rights

11.10. Legal Environment and Corporate Governance

11.10.1. International Rules on Importation and Exportation
11.10.2. Intellectual and Industrial Property
11.10.3. International Labor Law

Module 12. People and Talent Management

12.1. Strategic People Management 

12.1.1. Strategic Management and Human Resources
12.1.2. Strategic People Management

12.2. Human Resources Management by Competencies

12.2.1. Analysis of the Potential
12.2.2. Remuneration Policy
12.2.3. Career/Succession Planning

12.3. Performance Evaluation and Performance Management

12.3.1. Performance Management
12.3.2. Performance Management: Objectives and Process

12.4. Innovation in Talent and People Management

12.4.1. Strategic Talent Management Models
12.4.2. Talent Identification, Training and Development
12.4.3. Loyalty and Retention
12.4.4. Proactivity and Innovation

12.5. Motivation

12.5.1. The Nature of Motivation
12.5.2. Expectations Theory
12.5.3. Needs Theory
12.5.4. Motivation and Financial Compensation

12.6. Developing High-Performance Teams

12.6.1. High-Performance Teams: Self-Managed Teams
12.6.2. Methodologies for the Management of High-Performance Self-Managed Teams

12.7. Change Management

12.7.1. Change Management
12.7.2. Type of Change Management Processes
12.7.3. Stages or Phases in the Change Management Process

12.8. Negotiation and Conflict Management

12.8.1. Negotiation
12.8.2. Conflict Management
12.8.3. Crisis Management

12.9. Executive Communication

12.9.1. Internal and External Communication in the Corporate Environment
12.9.2. Communication Departments
12.9.3. The Person in Charge of Communication of the Company. The Profile of the Dircom

12.10. Productivity, Attraction, Retention and Activation of Talent

12.10.1. Productivity
12.10.2. Talent Attraction and Retention Levers

Module 13. Economic and Financial Management

13.1. Economic Environment

13.1.1. Macroeconomic Environment and the National Financial System
13.1.2. Financial Institutions
13.1.3. Financial Markets
13.1.4. Financial Assets
13.1.5. Other Financial Sector Entities

13.2. Executive Accounting 

13.2.1. Basic Concepts 
13.2.2. The Company’s Assets 
13.2.3. The Company’s Liabilities 
13.2.4. The Company’s Net Worth 
13.2.5. Results Research 

13.3. Information Systems and Business Intelligence 

13.3.1. Fundamentals and Classification
13.3.2. Cost Allocation Phases and Methods
13.3.3. Choice of Cost Center and Impact

13.4. Budget and Management Control 

13.4.1. The Budget Model 
13.4.2. Capital Budget 
13.4.3. The Operating Budget 
13.4.5. The Treasury’s Budget 
13.4.6. Budget Monitoring 

13.5. Financial Management 

13.5.1. The Company’s Financial Decisions
13.5.2. Financial Department
13.5.3. Cash Surpluses
13.5.4. Risks Associated with Financial Management
13.5.5. Financial Administration Risk Management

13.6. Financial Planning

13.6.1. Definition of Financial Planning
13.6.2. Actions to Be Taken in Financial Planning
13.6.3. Creation and Establishment of the Business Strategy
13.6.4. The Cash Flow Table 
13.6.5. The Working Capital Table 

13.7. Corporate Financial Strategy 

13.7.1. Corporate Strategy and Sources of Financing
13.7.2. Financial Products for Corporate Financing

13.8. Strategic Financing

13.8.1. Self-Financing
13.8.2. Increase in Equity
13.8.3. Hybrid Resources
13.8.4. Financing Through Intermediaries

13.9. Financial Analysis and Planning

13.9.1. Analysis of the Balance Sheet 
13.9.2. Income Statement Analysis 
13.9.3. Profitability Analysis

13.10. Analyzing and Solving Cases/Problems

13.10.1. Financial Information on Industria de Diseño y Textil, S.A. (INDITEX)

Module 14. Commercial and Strategic Marketing Management

14.1. Commercial Management

14.1.1. Conceptual Framework of Commercial Management
14.1.2. Business Strategy and Planning
14.1.3. The Role of Sales Managers

14.2. Marketing

14.2.1. The Concept of Marketing
14.2.2. Basic Elements of Marketing
14.2.3. Marketing Activities of the Company

14.3. Strategic Marketing Management 

14.3.1. The Concept of Marketing Strategic
14.3.2. Concept of Strategic Marketing Planning
14.3.3. Stages in the Process of Strategic Marketing Planning

14.4. Digital Marketing and E-Commerce

14.4.1. Digital Marketing and E-Commerce Objectives 
14.4.2. Digital Marketing and Media Used
14.4.3. E-Commerce. General Context
14.4.4. Categories of E-Commerce
14.4.5. Advantages and Disadvantages of E-Commerce versus Traditional Commerce

14.5. Digital Marketing to Reinforce a Brand

14.5.1. Online Strategies to Improve Your Brand’s Reputation
14.5.2. Branded Content and Storytelling

14.6. Digital Marketing to Attract and Retain Customers

14.6.1. Loyalty and Engagement Strategies using the Internet 
14.6.2. Visitor Relationship Management
14.6.3. Hypersegmentation

14.7. Managing Digital Campaigns

14.7.1. What Is a Digital Advertising Campaign?
14.7.2. Steps to Launch an Online Marketing Campaign
14.7.3. Mistakes in Digital Advertising Campaigns

14.8. Sales Strategy

14.8.1. Sales Strategy
14.8.2. Sales Methods

14.9. Corporate Communication 

14.9.1. Concept 
14.9.2. The Importance of Communication in the Organization 
14.9.3. Type of Communication in the Organization 
14.9.4. Functions of Communication in the Organization 
14.9.5. Elements of Communication 
14.9.6. Communication Problems 
14.9.7. Communication Scenarios 

14.10. Digital Communication and Reputation

14.10.1. Online Reputation
14.10.2. How to Measure Digital Reputation?
14.10.3. Online Reputation Tools
14.10.4. Online Reputation Report
14.10.5. Online Branding

Module 15. Executive Management

15.1. General Management 

15.1.1. The Concept of General Management 
15.1.2. The Role of the General Manager 
15.1.3. The CEO and Their Responsibilities 
15.1.4. Transforming the Work of Management

15.2. Manager Functions: Organizational Culture and Approaches

15.2.1. Manager Functions: Organizational Culture and Approaches

15.3. Operations Management

15.3.1. The Importance of Management
15.3.2. Value Chain
15.3.3. Quality Management

15.4. Public Speaking and Spokesperson Education

15.4.1. Interpersonal Communication
15.4.2. Communication Skills and Influence
15.4.3. Communication Barriers

15.5. Personal and Organizational Communications Tools

15.5.1. Interpersonal Communication
15.5.2. Interpersonal Communication Tools
15.5.3. Communication in the Organization
15.5.4. Tools in the Organization

15.6. Communication in Crisis Situations

15.6.1. Crisis
15.6.2. Phases of the Crisis
15.6.3. Messages: Contents and Moments

15.7. Preparation of a Crisis Plan

15.7.1. Analysis of Possible Problems
15.7.2. Planning
15.7.3. Adequacy of Personnel

15.8. Emotional Intelligence

15.8.1. Emotional Intelligence and Communication
15.8.2. Assertiveness, Empathy and Active Listening
15.8.3. Self-Esteem and Emotional Communication

15.9. Personal Branding

15.9.1. Strategies for Personal Brand Development
15.9.2. Personal Branding Laws
15.9.3. Tools for Creating Personal Brands

15.10. Leadership and Team Management

15.10.1. Leadership and Leadership Styles
15.10.2. Leader Capabilities and Challenges 
15.10.3. Managing Change Processes 
15.10.4. Managing Multicultural Teams

Die von diesen Fachleuten ausgearbeiteten didaktischen Materialien dieses Studiengangs haben vollständig auf Ihre Berufserfahrung anwendbare Inhalte”