ECTS credits ECTS credits: 6
ECTS Hours Rules/Memories Student's work ECTS: 99 Hours of tutorials: 3 Expository Class: 24 Interactive Classroom: 24 Total: 150
Use languages Spanish, Galician
Type: Ordinary Degree Subject RD 1393/2007 - 822/2021
Departments: Communication Sciences
Areas: Journalism
Center Faculty of Communication Science
Call: First Semester
Teaching: With teaching
Enrolment: Enrollable
Conceptual and practical approach to the knowledge of the audiovisual systems structure and the management of audiovisual companies in the context of their relationship with the cultural and creative industries and the digital convergence processes.
1. Introduction to the subject and development plan. Management within the information society and the creative and multimedia industries. General notions on management, economy, enterprise, business models, audiovisual systems and traditional and digital ecosystems. Economies related to communication, time, services, attention, affiliation, collaboration, data and networks. Planning and development of the seminars.
2. The relevance of career and corporate planning for the media. Planning, developing and negotiating of the professional CV within the system of professional and company relationships. Training on competences and career management, job search, contact and selection processes and job interviews. Personal brand, how to take care of social networks and new ways to design a CV. New professional profiles and tools for the audiovisual and platform sector. Case analysis in Seminar around the management of the professional profile, CV, job search and selection processes (interviews).
3. Entrepreneurship, its materialization and corporate constitution. From the idea to the project: creativity, research and development, innovation and entrepreneurship. The viability of the idea turned into business project. The process of creating and constituting an audiovisual company. The audiovisual company and its entrepreneur. The condition of promoter, editor, producer, distributor, broadcasters and infomediaries. Management of intellectual propriety within the audiovisual company. Case analysis in the Seminar around creativity, innovation, intellectual propriety and audiovisual entrepreneurship.
4. Business plan for the audiovisual company. Presentation and description of the idea and the promoter group. Description of the audiovisual activity, product or service. Market research and audiovisual markets. Competition research. Location of the enterprise. Legalization and legal form. Company image and product/service image. Commercial policy and marketing. Organisation of the production. Economic and financial plan. Presentation and negotiation of the business plans. Case analysis in the Seminar around the idea of the project for the creation of a creative, innovative, original and feasible audiovisual company (the aim is that the idea of the project contains creativity and innovation).
5. Structure, characterization and classification of the business activity of audiovisual companies. Audiovisual companies according to their capital (private and public) and their purpose. Types of trading companies (collective, limited partnership, limited responsibility, new enterprise, stock corporation, cooperative, work association, editors association, economic grouping or European) and non-profit institutions (associations, foundations and public interest). Classification of media companies according to their activity, scope, size, specialization, funding and others. Corporations, holdings and company groups. Case analysis in the Seminar around the types of trading companies.
6. Organization and direction of audiovisual companies. Mission, vision, editorial guidelines, values and corporate culture. Conception of the organization and of its strategic and management areas. The organization of the administrative process of decision-making and its management. Strategic and operational planning. Production and human resources management. Selection, hiring, organization and retribution of human resources. From audiovisual sequenced production processes to phased execution, clusters, networks and collaborative associations. Systems and processes of integrated or sequenced production. Case analysis in the Seminar around the production and socio-labour framework (collective arrangements) of Spanish and/or European audiovisual companies.
7. Marketing, commercialization and business models of the audiovisual company systems. Strategic marketing and marketing mix, product and relationships marketing. Features of audiovisual products and services and systems of pricing. Roles of commercialization. Promotion and distribution of audiovisual products/services. Promotional objects and merchandise. Case analysis in the Seminar around different audiovisual commercialization models.
8. Structure of the television companies and market in Europe, Spain and Galicia. Origins and evolution of the television market: from state monopoly to liberalization, from DTT to on demand television. Television’s economic features and its value chain. Main European television groups. Television consumption habits. Television structure regarding topic and distribution. Structure of European and Spanish public service media, its regulation through the public service remit and its values. The adaptation of public service broadcasting to the new media ecosystem and challenges ahead. Case analysis in the Seminar around the main television companies and groups.
9. Management of the cinema enterprise and structure of the film market. Cinema as an industry and its management. Cinema’s value chain: production, distribution and exhibition. The US model vs. the European model. Analysis of the evolution of the film market in Europe, Spain and Galicia: consumption and production trends. Traditional and emerging funding and producing models. Diversity protection and support to film production and distribution. Case analysis in the Seminar around the main cinema companies and groups.
10. Management and structure of new digital platforms. Platforms as disruptive innovation: conceptualization, features and description of the impact of the main platforms in the communication field and the digital economy. Platform business models (pay, free, freemium). Platforms and audiovisual content: recommendation and personalization of content, integration of big data strategies to the audiovisual production and the use of algorithms in public service media. Platform impact on digital content: algorithm logic, clickbait and viral diffusion. Case analysis in the Seminar around the repercussion of the GAFAN (Google, Apple, Facebook, Amazon, Netflix) in traditional media companies.
11. Economic-financial management of the audiovisual company. Models and types of funding of audiovisual companies. Traditional and new funding strategies (crowdfunding, bartering, product placement…). Public intervention (support programmes and incentives) and taxation of audiovisual companies. Economic and administrative planning and accounting. Chart of accounts and general accounts of audiovisual companies. Main indicators of economic-financial management of audiovisual companies. Audit and control systems of communication companies. Case analysis in the Seminar around private and public funding models of audiovisual production and distribution.
12. Governance of audiovisual companies: regulation, coregulation and self-regulation. Management models and organization charts of audiovisual companies. The regulation of digital platforms. Internal and external models and organisms of regulation. Quality management and Corporate Social Responsibility (CSR) in the field of audiovisual communication. Governance codes and normative framework for CSR. The ISO 26000 of CSR. Rules for the management, assessment and auditing of quality. Case analysis in the Seminar around the CSR reports of Spanish and European audiovisual companies.
Basic bibliography
Albornoz, L.A. y García Leiva, M. T. (2017). El audiovisual en la era digital. Políticas y estrategias para la diversidad. Madrid: Ediciones Cátedra.
Bustamante, Enrique (2013): Historia de la Radio y la Televisión en España. Una asignatura pendiente de la democracia. Barcelona: Paidós
Clares-Gavilán, J., Merino Álvarez, C. y Neira, E. (2019). La revolución over the top. Del vídeo bajo demanda (VOD) a la televisión por internet. E6ditorial UOC.
García Castillejo, Angel (2014): Régimen jurídico y mercado de la televisión en abierto en España. Barcelona: UOC
Marzal Felici, Javier; Izquierdo Castillo, Jéssica; Casero Ripollés, Andreu, eds. (2015): La crisis de la televisión pública. El caso de RTVV y los retos de una nueva gobernanza. Barcelona: Aldea Global
Medina Laverón, Mercedes (2011): Estructura y gestión de empresas audiovisuales. Pamplona: EUNSA.
Núñez Fernández, Víctor (2015): La empresa informativa en la era digital. Madrid: Centro de Estudios Financieros
OBS (2018): Yearbook. Television, cinema, video and on-demand audiovisual services -the pan European picture, Estrasburgo, European Audiovisual Observatory
Miguel de Bustos, J.C. & Izquierdo-Castillo, J. (2019). ¿Quién controlará la Comunicación? El impacto de los GAFAM sobre las industrias mediáticas en el entorno de la economía digital. Revista Latina de Comunicación Social, 74, 803 a 821. http://www.revistalatinacs.org/074paper/1358/41es.html.
Rodríguez Castro, M. & Campos-Freire, F. (2020). A xestión e a estrutura das novas plataformas dixitais. Santiago de Compostela: Universidade de Santiago de Compostela. https://dx.doi.org/10.15304/9788417595678
Srnicek, N. (2018). Capitalismo de plataformas. Buenos Aires: Caja Negra Editora.
Zallo Eguizabal, Ramón (2011): Estructuras de la comunicación y la cultura: políticas para la era digital. Barcelona: Gedisa
Complementary bibliography
Arsenault, A.H. y Castells, M. (2008). “The structure and dynamics of global multi-media business networks”. International Journal of Communication, 2, pp. 707-748.
Bergés Saura, Laura; Sabater Cassals, Marta; De Mateo Pérez, Rosario (2009): Gestión de empresas de comunicación. Zamora: Comunicación Social
Calvo Herrera, C. (2003). La empresa de cine en España. Laberinto.
CNMC (2018). Informe económico sectorial de las telecomunicaciones y el audiovisual de España. Acceso: www.cnmc.es
Chalaby, J. K. (2016). Television and Globalization: The TV Content Global Value Chain. Journal of Communication, 66, pp. 35-59.
Doyle, G. (2016). Television production, Funding Models and Exploitation of Content. Icono 14, 14 (2), pp. 75-96. doi: 10.7195/ri14.v14i1.991
Evens, T. y Donders, K. (2018). Platform power and policy in transforming television markets. Palgrave Macmillan.
Gallardo Gallardo, E., Torreguitart Mirada, M. C., & Torres Tomàs, J. (2016). ¿ Qué es y cómo gestionar el crowdfunding?. Editorial UOC.
Głowacki, M., y Jackson, L. (Eds.). (2013). Public media management for the twenty-first century: creativity, innovation, and interaction. Routledge.
López Golán, M.; Campos-Freire, F., López, P.C.; Rivas, F. (2018). La comunicación en la nueva sociedad digital. Universidad de los Andres, PUCESI y UTPL. Acceso en: www.academia.edu.
Graves, F. y Lee, M. (2017). The law of youtubers: the next generation of creators and the legal issues they face. Landslide, 9(5).
Kevin, Deirdre (2015): Snapshot: Regional and local television in Spain, European Audiovisual Observatory
Kevin, Deirdre
Basic knowledge, both theorical and practical, about the structure of the audiovisual market and the impact of digital convergence processes, as well as about organizations and companies, management models, organization and funding.
Theory and practice about business management, planning, direction and organization and about the systems of quality management and corporate social responsibility of the audiovisual company.
Analysis of the essential features of the information and media markets and of the cultural and creative industries in relation with the management of audiovisual companies.
Knowledge about entrepreneurship and audiovisual companies’ foundation and analysis for its implementation and development.
Basic
CB2 – The students know how to apply their knowledge to their job or vocation in a professional way, and they have the competences that are shown through the elaboration and defence of arguments and problem resolution within their field of study.
CB3 – The students are able to gather and interpret relevant data (usually within their field of study) in order to make judgements including some reflection on relevant social, scientific or ethical issues.
CB4 – The students can transfer information, ideas, problems and solutions to both a specialized and non-specialized audience.
CB5 – The students have developed those learning abilities required to start subsequent studies with a high degree of autonomy.
CG1 – Basic contextual and transdisciplinary competence.
CG2 – Contextual competence to locate audiovisual communication within the information society.
CG3 – Competence to practice the profession with professional ethics and civic compromise.
Transversal
CT01 – Ability of organization and planning
CT02 – Ability to manage information
CT03 – Team work
CT04 – Autonomous learning
CT05 – Creativity
CT06 – Initiative and entrepreneurship spirit
CT07 – Basic knowledge of the profession
Specific
CE07 – To capacitate for the professional competences of a distributor or exhibitor of audiovisual pieces.
CE08 – To acquire the required formation in order to interpret statistical reports.
CE09 – To capacitate for the direction of companies related to the audiovisual sector.
CE10 – To know the required techniques for the professional development of the programming of audiovisual products.
Development of lectures, individual and group projects, reading of recommended texts related to the subject, analysis of management cases and discussion in the Seminars. Development of a project about a new, original, creative and feasible enterprise. This project can be supplemented with audiovisual resources.
Remote activities are considered through the virtual campus.
The scheduled individual and practical works will be evaluated with up to a B mark (8) and then this score will be raised according to the number of correctly answered questions in the exam, which will consist of short or developmental questions.
The evaluation will be continuous.
If a face-to-face examination is not possible, the final evaluation will be the result of continuous assessment throughout the term.
Second Chance
In this case it will be evaluated in the same way as in the first call, although the part corresponding to the exam will be exclusively in essay format.
The presential time will be 48 hours and the individual work of the student will be 102 hours.
It is required to know how to use audiovisual resources in order to develop the company project.
It is required to know how to use audiovisual resources in order to develop the company project.
Contingency plan
In accordance with the three scenarios that the USC contemplates due to the sanitary crisis, the teaching methodology will be gradually adapted by combining face-to-face and virtual, or only virtual teaching initiatives, through the virtual campus (in the third scenario it will be all virtual).
Regarding the evaluation system, if face-to-face examination is not possible, evaluation will be continuous, through different initiatives programmed along the four-month period.
Francisco Manuel Campos Freire
Coordinador/a- Department
- Communication Sciences
- Area
- Journalism
- Phone
- 881816551
- francisco.campos [at] usc.es
- Category
- Professor: University Professor
Martin Vaz Alvarez
- Department
- Communication Sciences
- Area
- Journalism
- martin.vaz.alvarez [at] usc.gal
- Category
- Ministry Pre-doctoral Contract
| Tuesday | |||
|---|---|---|---|
| 11:00-12:00 | Expositivo 1 | Galician | Classroom 8 |
| Thursday | |||
| 11:00-12:00 | Expositivo 1 | Galician | Classroom 8 |
| Friday | |||
| 12:00-13:00 | Expositivo 1 | Galician | Classroom 8 |
| 01.11.2021 10:00-14:00 | Expositivo 1 | Classroom 3 |
| 01.11.2021 10:00-14:00 | Expositivo 1 | Classroom 4 |
| 06.21.2021 16:00-20:00 | Expositivo 1 | Classroom 7 |