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

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.

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.

This essay will consider two short films by emerging filmmaker Carlos Trujano produced during the pandem-ic context. They will be highlighted for their dual value as examples of a method of developing film work during the months of confinement and for their narrative force, which involves and develops the potential of the video call as a means of narrative representation, the fiction-al counterpart of the practical use that this channel of communication has achieved in recent years. Thanks to an audiovisual adaptation of the theoretical framework of the theory of ‘speech acts in literary fiction’, described in some of H. Miller’s works, we will analyse the way in which the two plays Videollamada and Lucía y Luís de Trujano, in collaboration with the company Coteatro de la B.U.A.P., propose two alternative ways of employing the imaginative power of the short film and the medium of the video call, emphasising, in the first case, the imitation of everyday dynamics crudely linked to the collective hysteria related to the Coronavirus and, in the second case, the possibility of constructing a science fiction story of great emotional power around a video call. Two opposite extremes of the meaningful uses of artistic mimesis and the performative act of filmmak-ing generated with the same technique and with quite similar media will be identified, and these dimensions will also be linked to some considerations on the cre-ative use of remote media

Sin duda alguna, hay un antes y un después de la pandemia por el Covid-19. La Humanidad ha experimentado numerosos cambios que han afectado todos los ámbitos: sociales, culturales, económicos, políticos, educativos, etc. transformando prácticamente el mundo, la forma de mirarlo y la vida en él. Esta transmutación ha ingresado en el devenir del crecimiento de la ciencia, de la docencia y de la investigación, en suma, una de las consecuencias más palpables de este proceso ha sido el uso de las herramientas informáticas para acercar los conocimientos a los estudiantes en formación y a los investigadores. Nuestra revista ha hecho eco de esta tendencia, al igual que otras publicaciones de carácter periódico, y dedicó uno de los números anteriores a mostrar los aspectos teóricos de tales recursos didácticos y sus aplicaciones en el campo de las disciplinas comunicativas. Una de estas disciplinas, el cine (y productos audiovisuales emergentes) ha sido el propósito de la presente entrega, concretamente la industria cinematográfica en tiempos de pandemia y de pospandemia, en la que al parecer se impone el aprovechamiento de las nuevas experiencias ahora que la luz comienza poco a poco a recuperar y propiciar la antigua normalidad.

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.

Se plantea detalladamente el estado de la cuestión que presenta la industria del cine en España en sus ámbitos específicos de producción, distribución y exhibición. El autor desarrolla pormenorizadamente la situación del cine en España, y a continuación también la situación de la televisión en su vertiente estrechamente relacionada con el cine. Posteriormente se reproducen algunas entrevistas realizadas a los protagonistas más representativos de la industria del cine, personificados en productores, distribuidores y exhibidores. El trabajo remite más adelante a referencias muy numerosas publicadas en el portal CineyTele.com sobre pandemia y postpandemia tanto en el ámbito español como iberoamericano en su conjunto, finalizando con una bibliografía básica sobre la temática desarrollada.

The representation of old age in Mexican cine-ma is the starting point for analyzing the false stereo-types that are currently held about the elderly. The re-spect that different cultures used to give to the elderly has been lost and nowadays they are considered a work nuisance or a burden for their families, ignoring and discriminating against them. This research compares the films Por si no te vuelvo a ver (Juan Pablo Villaseñor, 1997) and En el último trago (Jack Zagha Kababie, 2015) in which a dif-ferent look is proposed, where the protagonists find the necessary motivation to fulfill a goal and face challeng-es and problems to achieve it. Thus they achieve a trans-formation in which they can enjoy their old age and live it to the fullest.

This article aims to analyze the documentary My Octopus Teacher (MOT) from the point of view of the view-er’s engagement with the protagonist in the context of the Covid-19 pandemic. An integral definition of the concept of engagement is used, including variables related to the plot and the receiver of the story. The content of the documenta-ry is analyzed by applying the theoretical categories of the concept of character engagement. MOT can function as a story of empowerment for the viewer who has suffered the loneliness and lack of sociability produced by the pandemic and its effects.

The COVID-19 pandemic has triggered significant trans-formations in the processes of production, exchange and consumption of media content, driven by the desire of contemporary networked society to communicate, in-form and entertain in the midst of a turbulent health and humanitarian moment. In this scenario, YouTube has become the preferred vehicle for video dissemina-tion and consumption. Among the aesthetics available on this platform, this exploratory study focuses its reflec-tions on pandemic productions that relied on 360-de-gree technology, an emerging image modality. Guided by a methodological path formed by a bibliographic review and netnography, the research covered a survey of 400 spherical videos, which were analysed through cartographic, technical and thematic particularities. For this purpose, expressions in Portuguese and Spanish re-lated to 360-degree videos and COVID-19 were entered into the YouTube search system. The results provided an overview of how the pandemic phenomenon influenced the creative sector of 360-degree narratives, highlight-ing, for example, Brazil as the country with the highest number of published works, the virtual tour as the most explored format and the prominence of companies and professionals specialised in content creation, while press vehicles appeared timidly

The general objective of this research was to identify and analyze the habits, practices, modes of appropria-tion and consumption rituals of Mexican films of the inhabitants of the Monterrey metropolitan area who remained in seclusion due to the COVID-19 pandemic, in a context of massive closure of movie theaters due to the restrictions caused by the pandemic and, para-doxically, in the face of a growing new golden age for Mexican cinema. This research was conducted with a qualitative approach; it is an exploratory study in which the in-depth interview technique was used. The sample consisted of 43 volunteer subjects, homebound adults, of both sexes and ranging in age from 41 to 86 years old. The results show that the change was more signifi-cant among older adults, who mentioned that going to movie theaters meant a lot to them, since, along with attending casinos, they were their only distractions be-fore the pandemic, although they also mentioned that they are now getting used to watching movies on TV via streaming platforms, particularly Netflix, although they feel they have not mastered the technology for their en-joyment. Regarding the consumption of Mexican films, older adults do not like new films very much, they still prefer those of the Golden Age of the last century and, although they mentioned that in those they have seen recently they observe that in some way they represent the reality of our country, they said that because of their subject matter they consider that they are aimed at a younger audience.

The following text aims to show how the COVID-19 pandemic has created new narratives that reflect ev-eryday issues that in one way or another involve the world. Furthermore, it shows how, through different cinematographic resources and emerging narratives, it is possible to tell real and emotional stories, with a sar-castic and ironic edge that serve to re-evaluate human relationships. The theoretical framework of this article focuses on cinematic narratives, genres, cinema during the pandemic and the advent of streaming platforms. This study is carried out through a qualitative method-ology based on the content analysis of the film Together and the BBC television programme Staged. As a result, it is found that these two audiovisual products manage se trabaja la narrativa, la industria del entretenimiento, en particular el cine y la televisión tienen oportunida-des de crear nuevos contenidos a partir de momentos históricos.to reliably portray what happened during the cloistered era; in addition, it is found that an innovative resource to narrate the series was Zoom, a platform that became popular for home work and that, in this case, the pro-gramme uses intelligently. Finally, one of the main con-clusions is that, thanks to cinematographic resources, realistic scripts and the way in which the narrative is worked, the entertainment industry, in particular cin-ema and television, have opportunities to create new content from historical moments.

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

Tengo el gusto de comunicar a nuestros lectores la salida del volumen 4, número 1, enero-junio de 2022 de la Revista Panamericana de Comunicación. Me congratula pensar que el ilusionado y todavía joven proyecto que nació apenas tres años va escalando posiciones en las preferencias de la comunidad científica internacional de las Ciencias de la Comunicación y que va mereciendo cada vez más la atención de repositorios, portales de revistas y plataformas de indexación, las más recientes Scielo y Redalyc.

We present a sample or selection of perfor-mances -free or reduced-cost online cinema- originated by the pandemic, declared since March 2020 (now ex-actly 2 years ago), whose situation as of March 2022 is still, in a way, in force, although much more attenuated: however, some countries have now started the adminis-tration of a fourth anti-covid dose. In the field of training and research applied to cinema, film production contin-ues to be based on master classes, conferences, online seminars -webinars- and other online manifestations, although the increasingly widespread and frequent presence is already a fact. Closely related to the Spanish audiovisual industry, fundamentally cinematographic de las revistas Cineinforme (y también Teleinforme), aludiéndose especialmente a sus 60 años de historia cumplidos en 2021. Y en fin una breve mención a la co-laboración en algún momento establecida entre el edi-tor aludido y el autor de estas páginas, completándose la aportación con un nutrido repertorio de referencias electrónicas destacadas a lo largo del trabajo. Palabras-clave:Formación cinematográfica, industria del cine, investigación cinematográfica, postpandemia y cine, programación cinematográfica, Cineinforme.with allusions to the television industry related to cin-ema, an interview with the editor of Cineinforme (and also Teleinforme) magazines is included, with special reference to its 60 years of history in 2021. And finally, a brief mention to the collaboration at some point es-tablished between the aforementioned editor and the author of these pages, completing the contribution with a large repertoire of electronic references highlighted throughout the work.

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