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Mapping international research in Cinema, Audiovisual, and Animation: A metric study in Scopus
(Escuela de Comunicación - CampCM, 2025-08-06)
Dias Medeiros, Thaís
;
Souza Vanz, Samile Andréa de
This article maps out the international scientific output in Cinema, Audiovisual, and Animation in the Scopus database. It uses bibliometrics as its methodological approach. Our research identified a diversity of publication languages, with English being the most commonly used language. The article was the dominant documentary typology, followed by the review, which may indicate a publication trend in the area. Among the publication vehicles, journals from the United Kingdom and Spain stand out. The countries with the highest number of publications in Cinema, Audiovisual, and Animation differ from the general ranking, and Brazil and Spain stand out when it comes to publications on the topic. It is concluded that production in the area, which began in 1980, has been growing slowly but steadily, especially since the 2000s, predominantly in the areas of Arts and Humanities, and Human Sciences. This research presents a broad and international view of the topic and suggests new studies in other databases as well as in specific countries.
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Video learning: aprendizaje y educación a través de medios audiovisuales, desde una perspectiva histórica y contemporánea
(Universidad Panamericana, Escuela de Pedagogía, 2021-07-03)
Vital-Rumebe, Gabriela
;
Ontiveros-Moreno, Irma L.
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Guerra-Rojas, Claudia G.
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Gutiérrez-Rocha, Alfonso
;
Universidad Panamericana. Campus Ciudad de México. Escuela de Pedagogía
The article aims to investigate through a historical journey on audiovisual media, specif-ically video. Knowing this option of the use of video during the historical tour gave us a vi-sion about its scope and uses for learning in education. Discovering this possibility of its use as educational video in the current contemporaneity, under the modality of virtual education the educational video becomes a means for didactics.The educational video is an audiovisual material, a didactic tool, which has its origins in the cinema. It was initially used for recreational and entertainment purposes, and later on for political and informative purposes as well. Then, documentary cinema arises, which, al-though it was used for news and propaganda purposes, it was also used as a very useful ed-ucational tool. The true educational films first came at the outbreak of World War II. In 1940, the growth of cinema really began with the growth of american industry. Ten years later, the television industry emerged, and was consolidated in the 1960s. In Europe, the broadcasting of government sponsored educational programs began, first in Italy, where school classes were shown on television. In Mexico it became a state policy by the end of the 1960s, thus creating the TeleSecundarias System. At the 1980s, paid TV services arised, which offered educational channels such as the Discovery Channel (1985). Also, in the 1960s decade the internet appeared, but it was until thirty years later that it became part of daily life, when it was provided to the general public, as a medium that merged cinema, radio and televi-sion. It was initially used only as an interactive medium for commercial and business pur-poses. Later, with the improvement of information technologies that allowed to store and send a greater amount of data, a whole range of possibilities was opened, which allowed video platforms such as YouTube to come up, among others, and also the rise of online schools, so currently audiovisual courses have become one of the most useful tools in the teaching-learning process.
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La función social del cine en tiempos de pandemia
(Universidad Panamericana, Escuela de Comunicación, 2022)
García Benítez, Carlos
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
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.
47 84
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La comunicación del psicólogo a través del cine : análisis del estereotipo fílmico
(Universidad Panamericana, Escuela de Comunicación, 2022)
Vivas Rodríguez, Marta E.
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Cantero Sánchez, Francisco Javier
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Salado Navarro, Vanesa
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
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.
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Panorama de la producción cinematográfica en Cuba durante el contexto del Covid-19
(Universidad Panamericana, Escuela de Comunicación, 2022)
Izquierdo Sánchez, Ernesto
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
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
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La deuda del cine con la literatura
(Universidad Panamericana, Escuela de Comunicación, 2020-12-01)
Echevarría-Navarro, Gustavo
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
Es generalmente aceptado que el cine es un medio que ha sido influenciado, desde su origen y a lo largo de su historia, por otros medios artísticos. Son abundantes los estudios que tratan sobre instancias particulares de estas influencias en general, así como las consideraciones sobre obras cinematográficas específicas y su relación con otras producciones artísticas en el ámbito del teatro, la ópera o la danza. Al margen de un ejercicio de análisis narrativo concreto sobre alguna obra cinematográfica, en este ensayo nos aventuramos a proponer, utilizando la analogía y con fundamento antropológico, que, en última instancia, la primera génesis del cine como medio narrativo se encuentra en la literatura.
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