Año 4, No. 1. Enero-Junio (2022)

The present research starts from the premise that cin-ema is a source of great interest for the analysis of the image of the psychology professional over time. The way in which cinema has represented the psychologist is, consequently, of enormous importance as a genera-tor and transmitter of filmic stereotypes. Two are, there-fore, the objectives pursued: to analyze the representa-tion of the psychologist in the cinema from 1930 to the present and to establish, based on the above, the basic stereotypes of the psychologist in the cinema that have actively intervened in the construction of models of rep-resentation of our discipline. For this purpose, a qualitative methodology of thematic analysis has been followed, selecting a repre-sentative sample and describing and analyzing themat-ic aspects such as the scenario, the evolution of the psy-chological schools represented, the staged techniques, the psychological branches present, or the social image that emerges from all this through a categorization of the filmic stereotyping. The results show an increasing evolution over the time studied of the number of valid films, their relationship with certain film genres (hor-ror, crime and forensic), the extraordinary link between filmic stereotyping and clinical psychology, the constant ambiguity with other disciplines which shows the diffi-culties of the scientific autonomy of psychology, or the concordance of our results with the studies of Sneider and Gabbard with a preference for the “Wonderful” type of stereotyping. In short, it is considered that the cine-ma, until a few years ago, has been making a stereotype of the psychology professional that has distorted our professional performance. This implies a necessary ef-fort in our profession for scientific communication.

This paper proposes a series of reflections on cinema and how it was reconfigured during the Covid-19 pandemic in our country. Cinema, as an industry, brings together several spheres, among the most important of which are production, distribution and exhibition. In the latter, audiences play an important role. Since cinema first appeared, it has never ceased to amaze us with the different social functions it has fulfilled for audiences. However, with the arrival of the coronavirus, during the confinement, other functions seemed to reveal them-selves, in this text we propose some of them, in the in-terest of helping to think about cinema as a dynamic, vigorous communication phenomenon in the context of the pandemic and in the face of the so-called new normality.

The emergence of Covid-19 imposed a global chal-lenge on the dynamics of human life. The local work of the Seventh Art would suffer the same fate as the great monopolies of audiovisual entertainment, expe-riencing new challenges in the modes of production. In this sense, filmmaking in Cuba was not exempt from reinventing itself in its routines with the particularities of the context. In addition to the material shortages in-volved in maintaining production in an underdeveloped country, there was the crisis caused by the coronavirus. On the other hand, the closure of the few cinemas in op-eration would motivate the use of methods of dissem-ination that were already being used with the chang-es in consumer habits. From then on, social networks would serve as an intermediary between the public and the audiovisual. In view of the above, this essay aims to analyse the panorama of the film industry on the island during the pandemic, with the objective of addressing the context and development experienced by Cuban cinema