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Has files: YesSubject: search.filters.subject.Cine mexicano

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    Cine mexicano, colonialidad de medios y audiencias de mujeres de plataformas de digitales : estudio de caso en Aguascalientes
    (Universidad Panamericana, Escuela de Comunicación, 2022)
    Solís Salazar, Sofía
    ;
    Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
    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
      4  107
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    De las industrias culturales a la economía política de la industria cinematográfica
    (Universidad Panamericana, Escuela de Comunicación, 2022)
    Dávalos Orozco, Federico
    ;
    Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
    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.
      5  119
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    Representaciones de la violencia fílmica desde la mirada femenina. Tres películas mexicanas postpandemia : Sin señas particulares (Fernanda Valadez, 2020), Noche de fuego (Tatiana Huezo, 2021), La civil (Teodora Mihai, 2021).
    (Universidad Panamericana, Escuela de Comunicación, 2022)
    Carrillo-Cal-Y-Mayor, Juan Carlos  
    ;
    Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
    A pesar de las complicaciones que la pandemia de Covid-19 implicó para la industria fílmica global, el cine mexicano ha continuado con un relevante nivel de producción, así como algunas evoluciones propias. En la producción destaca la cada vez mayor participación de mujeres en los roles principales, como el de la dirección. Por otro lado, una línea temática que ha destacado es la de desaparecidas en México con motivo del narcotráfico. En este trabajo se analizan tres películas mexicanas sobre esta temática, dirigidas y protagonizadas por mujeres y estrenadas o producidas una vez que había empezado la pandemia, con el objetivo de estudiar la representación de la violencia en el cine mexicano contemporáneo hecho por mujeres. Se muestra que la violencia fílmica no se utiliza como espectáculo sino como un modo de denuncia, para lo que no necesita ser explícita.
      20  74