Año 4, No. 1. Enero-Junio (2022)

This article makes a qualitative approach to the audiences of university women of cinema in digital plat-forms in the city of Aguascalientes. Its main purpose is to recover their appropriation of visual narratives, as well as to inquire about their perception of the current panorama of media coloniality and data colonization. This study inquires about stereotypes, roles and aspira-tional models of gender represented in the film material, as well as the opening to a new political positioning as spectators and users of other forms of exhibition to theatrical projection

It is proposed a reflection on the concept of culture in the field of social sciences, which allows us to understand the relevance of cultural industries in the production and reproduction of symbolic systems in contemporary societies. Understanding the meaning of the concept of culture allows us to understand the pre-eminence that the usual production of the mass media has in the formation and socialization of individuals in contemporary societies.It is the socio-historical conditioning factors and the economic and industrial nature of the various cul-tural industries that allow us both to fruitfully relate the mass media to each other and to other forms of mass entertainment, and to establish the specificities of each one. All of them are characterized by the industrial and standardized production of messages; they are cultural industries. Following some clues provided by Albert Breton, Augustin Girard, Armand Matellart and Enrique Busta-mante, we will try to understand how cultural industries work and how they are organized; and what are the dif-ferent modes of production of cultural goods.We will explain the organization and functioning of cultural industries and their various facets: socio-politi-cal, cultural and economic. From the last facet, we will ap-proach the study of the three sectors of the film industry -production, distribution and exhibition-, the specific way in which filmmaking is organized. In the end, all these elements will allow us to propose a model for the study of the production, distribution and exhibition systems in the Mexican film industry.

Despite the complications that the Covid-19 pandemic implied for the global film industry, Mexican cinema has continued with a relevant level of produc-tion, as well as some of its own evolutions. In produc-tion, the increasing participation of women in the main roles, such as directing, stands out. On the other hand, a thematic line that has stood out is the disappearance of women in Mexico due to drug trafficking. This paper analyzes three Mexican films on this theme, directed by and starring women and released or produced once the pandemic had begun, with the aim of studying the rep-resentation of violence in contemporary Mexican cine-ma made by women. It is shown that filmic violence is not used as a spectacle but as a means of denunciation, for which it does not need to be explicit