Año 4, No. 2. julio-diciembre (2022)

This study addresses how rock music integrat-ed into the local culture of a region where the dominant music genres were Tejano and other Mexican-influenced forms. Using a series of in-depth, qualitative interviews with long-practicing musicians, we discuss how rock was shaped and melded into local customs and practic-es. Musicians discussed being flexible in their live performances, playing British invasion songs right after a corrido, being pushed to the margins, and performing at ranches outside the city limits when clubs would not feature them. Nevertheless, the local rock music scene developed in South Texas and became a unique cultur-al hybrid. We use this example to discuss what cultur-al hybridity looks like in the context of music performance, the role of new media in advancing it, and what it means for border identity

Con enorme gusto ponemos a su disposición el segundo número, volumen 4 de la Revista Panamericana de Comunicación, correspondiente a los meses de julio a diciembre de 2022. Se cierra con esta edición el cuarto año de nuestra revista con lo que sin duda aumenta también la experiencia que se refleja en la calidad de las publicaciones. El presente número tuvo como editor asociado al Dr. Gabriel Domínguez Partida, profesor investigador y director de la Licenciatura en Comunicación y Creación Audiovisual del Campus Guadalajara, quien tuvo a bien conseguir una interesante selección de artículos basados en el tema de esta edición: La presencia hispana y latinoamericana en la industria de los videojuegos

Console and computer video games are mo-nopolized by large entertainment conglomerates. However, with mobile devices the video game market opened to new, little-explored audiences: elders and casual gamers, mobilizing users to new strata and for-mats, promoting the creativity that in this article is ana-lized from the dependency of the media system.

In the days before and after the death of Francisco Franco, Spanish Television broadcast a series of thirteen chapters entitled Este Señor de Negro [That Man in Black] (Antonio Mercero, 1975-6) and starring José Luis López Vázquez. In it, the main character faces a changing society where variations in the current hegemonic masculinity take on a particular role. This text analyzes how this television serial fiction detected and represented these variations in the diegesis.

This work aims to explore the experiences of young peo-ple from 18 to 26 years of age from México City, Puebla, and Querétaro in sports in electronic games to identify the socio-emotional skills that are developed from the interaction between the participants. Through explor-atory research, and based on phenomenology and eth-nography as selected methodologies, an approximation to the definition of the skills is generated. The results suggest that socioemotional skills in sports arise from the trust players need to develop for the game’s conti-nuity, and the establishment of obligations assumed by their own will. It is concluded that inside and outside the game, a space is formed where the psychological development of the participants translates into motiva-tion and empathy

In this text we question in a general way how filmic fiction can pose relevant social problems and pro-pose modes of agency to solve them. The films and the genres to which they belong configure a reality that im-plicitly relates the social structure with the agency of the protagonists. The interaction between structure and agency has been analysed with discussion groups that negotiate the social meanings of political issues. This text examines how the protagonists of the fiction reflect a logic of negotiation on their own freedom to act. We take the film, Swallow, as a case study and use a meth-odology based on the analysis of the interactions that occur in the story. The results complete the evidence found in the experiments with real discussion groups.

Narrative of the discovery process of the important prehistoric paintings found in 1879 in a cave in Cantabria (north of Spain) called Altamira. Such a discovery, due to its high artistic value and technical perfection, could not be accepted as true by most of the scientific community at the time, led by Cartailhac, a highly influential French archaeologist. The article nar-rates all the vicissitudes that its discoverer, Marcelino Sanz de Sautuola, had to endure, who was accused of trickery and forgery of the paintings. He passed away without seeing his discovery recognized. Subsequently, the French archaeologist recognized his mistake and visited the cave and tomb of the Spanish scholar.

The Miscellaneous Papers Collection (P.V.) of the Histor-ical Archive of the University of Salamanca (A.U.S.A.) is a documentary collection, that is, a set of documents gathered according to non-objective criteria, and that therefore, do not preserve an organic structure nor re-spond to the principle of archival provenance, and that given its interesting material, largely unpublished, deserves to be consulted by researchers not only linked to university history, but also by scholars of other specialties devoted to studying the sixteenth to eighteenth centuries. On this occasion, we will focus on documents related to political satire, a documentary form that is characterized by its critical, instructive and humorous quality, making it an extraordinary instrument of com-munication. The invectives to the ecclesiastical estab-lishment, the criticisms to politics or other anecdotal is-sues are reflected in our documents. Finally, we present the appendix of these documents.

From their development in the early 1960s to their global prominence today, video games are an increasingly ubi-quitous feature of entertainment culture. Likewise, video games and their supposed and actual effects on players fea-ture prominently in public discourse and academic research. However, international scholarly outlets have largely omit-ted the Latin American experience with video games, despi-te the region’s sustained and growing gaming culture—in some cases, with gameplay rates that outpace regions that are more commonly featured in scholarship (such as the United States). This essay presents as a broad call for scho-larship that directly engages with Latin American gamers and gaming culture, as part of larger efforts to move media communication research towards authentic and meaning-ful global engagement.

Can a form of play be used to portray the past in popular culture? Can a person engage in such an act and acquire agency of a particular time in history? Play constitutes many forms—but for the sake of this paper, it will be used in the context of video games. Using the two main schools of thought for the study of these, nar-ratology and ludology, I intend to highlight the potential for games to not only recreate history but also inter-act with events and how they can provide new ways of understanding history. I will focus mainly on the Mexi-can Revolution and the U.S.-Mexico border relations in Rockstar’s epic western: Red Dead Redemption 1

En el mundo actual, la virtualidad se presenta como una necesidad y no ya como una novel invención. En consecuencia, la investigación de la comunicación ha incluido estas nuevas tecnologías digitales como un área de estudio con el afán extender el conocimiento y aplicación de las teorías seminales del proceso comunicativo. Aunque esta incorporación se ha hecho con cierta reticencia, cada vez es más común encontrar voces académicas que reivindiquen el rol de estas tecnologías y la complejidad de sus aplicaciones, alejándose de la inclusiva influencia negativa en las audiencias. Uno de esos medios es los videojuegos

Cultural identity has become a fluid concept in which several positionalities converge; most of them are influenced greatly by popular culture, causing a con-stant individual negotiation between their real lives and the image on the screen. In 2019, Todd Phillips’s Joker achieved worldwide success not only at the box office but also in critical appraisal. Unlike previous representations of this villain as a disruptive social persona, Jok-er showed the main character as a political figure that gives agency and voice to the people who are socially repressed. The impact of this representation transcended Anglo cultures to the extent of symbolizing a popu-list uprising and a growing anti-government sentiment. Nevertheless, this figure’s appropriation brings two problematic ideological standpoints to the goal these groups aim: violence as the only alternative to restoring equality in society and color blindness that silences the struggles that cultures face depending on their context

The article aims to diagnose the state of the video game industry in the city of Havana. To this end, it gathers information through interviews to some pro-ducers and analyzes documentary information during 2019, the year covered by this article. Among the main results, it is found that although it is not possible to speak of the presence of an industry, there is a window of opportunity for its promotion. The article concludes with some references to what happened after the year of the study and a set of policy suggestions.

We are not only interested in rethinking the represen-tations of Latino Characters and of Latin America made by First World produced games -and the stereotypes that are implied- but also and mainly what happens with videogames produced in Latin American territory, and what type of representation is propose by way of re-sponse. It seems it’s not an easy task to escape self-era-sure (deliberately erasing the marks of one’s own cul-ture) or self-exoticization (lining up with the stereotype of otherness imposed by the hegemonic culture), at least for the vast majority of latino video games. In this paper, some particular cases are investigated and at the end some games are proposed as an alternative model to follow in terms of the representation of Latinos by Latinos