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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
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Ontiveros-Moreno, Irma L.
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Guerra-Rojas, Claudia G.
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Gutiérrez-Rocha, Alfonso
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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.
13 101
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Antropología de lo cercano: el etarismo
(Hospitalidad ESDAI, 2017)
Covadonga Torre Marina, María
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Campus Ciudad de México
In the present essay, I seek to think about on the problems of old age in the contemporary period since, besides being a personal concern, it coincidentally became the focus of several films that have been projected in the recent months on the Mexican billboard. Cinema may be a reflection of the concerns, fears and problems of the society, is an attention call to prepare ourselves for what is coming. I don’t know if the term protest cinema is the most appropriate, but thinking about it, it called my attention the similarity that some kind of cinema can have with anthropology, which essentially seeks to analyze the conflicts that arise in the institutions and societies, to visualize them first, and propose possible solutions later. As they say in the colloquial field: the anthropologist seeks conflict, quarrel, since coexistence among human beings is never totally harmonious and hence, is there, right in the problem, where he focu- ses his analysis. As Garcia Acosta and Melville claim (2009, p.45), “anthropology is one of the social sciences with an extremely ambitious intellectual and academic agenda. Its central subject of study is the permanence and change of socio-cultural phenomena; therefore, its purpose is to know and analyze the whole humanity.” In addition to old age, or more precisely, the discrimination of which “the old geezers” are subject, I was attracted to the idea of thinking on what is the subject of study of current anthropology and it’s just the binomial that occurs between old age and the analysis of the nearest, both in the Number our days (1978) documentary by Barbara Myerhoff, as in the film Et si on vivait tous ensemble? (What if we lived all together?) (2013), by Stéphane Robelin, what made me decide for the topic: Anthropology of the nearest: the Ageism.
4 62
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La pandemia como recurso narrativo. Análisis de contenido y discurso de dos audiovisuales
(Universidad Panamericana, Escuela de Comunicación, 2022)
Urcid Puga, Rodrigo
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
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.
8 76
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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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Una mirada a las expectativas en la vejez desde las narrativas del cine mexicano
(Universidad Panamericana, Escuela de Comunicación, 2022)
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;
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ALMA DELIA ZAMORANO ROJAS; 36360
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Universidad Panamericana. Campus Ciudad de México. Escuela de Comunicación
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.
46 425
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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.
14 166
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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
32 72
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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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