Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The purpose of this research project is to identify the possible shortcomings of the events sector in the municipalities of Chia and Cajicá, in order to optimize the use of technological tools that we can currently find, which contribute significantly to the development of the same and in turn implement a collaborative economy where both customers and suppliers work for the common good; Likewise, the analysis of the problem will be carried out under the measurement of the variables used as the survey, observation and readings that provide knowledge and data of interest that will help us identify possible solutions for the implementation of modern options, with the results of the data obtained we will proceed to the creation and design of a digital platform specialized in the realization of events, where customers can supply all their needs and whims for the realization of the same, identifying the added value of the proposal from the comfort of your home, office or from where you can count on the internet service.

The historic television series Rome (2005-2007), which was created by John Milius and William J. MacDonald, was a turning point for the genre. Coinciding with the rise of cable TV channels, HBO sought to prioritise a product that addressed subjects that would appeal to a more adult audience, so it chose to recreate the great, late-Republican city of Rome during the power struggle between Julius Caesar and Gnaeus Pompey. By taking advantage of the only two legionnaires mentioned in Caesar's famous commentaries on the conquest of Gaul, referring to Titus Pullo and Lucius Vorenus, the programme, which was filmed in the prestigious Cinecittà studios, aimed for an in-depth analysis of all the elements that comprised the ancient world (slaves, merchants, senators, patricians, centurions, common women, criminals, and others). The research herein attempts to focus on the potential for learning offered by the two seasons of the show, highlighting the contrast between fiction and classical source data, as well as recent advances in research on this particular historical period. We have also noted a gap in the television story, as the first part advances the protagonists forward in parallel to historic events, while the closing part tries to fit the events into the dramatic plot lines of its characters.

Since its premiere, Band of Brothers (HBO, 2001) has been considered one of the best series in history, with an undeniable quality that blurs the boundaries between television and cinema. Its privileged position in the history of television, and its example of spectacular production have made it an paradigm for many other later historical or epic series. As an adaptation of Stephen Ambrose's namesake novel, it is based on a solid historical foundation, offering the audience a very attractive result based on facts that are necessarily partial to a conflict as broad as the one in which it is set, the World War II. But both its plot and the unique narrative tools it uses make it a very valuable audiovisual complement that can be used to support our knowledge and teaching about a conflict that was so decisive for the development of the 20th century and even in our present 21st century.

The series I, Claudius (Herbert Wise, 1976), based on the novels by Robert Graves, is one of the productions that has best conveyed the early years of the Roman Empire. An era whose presentation in the classroom often causes confusion, due to the intricate political context that pervades any particular vision of its history. In the case of Art history and, more specifically, in the case of Roman portraiture, this circumstance is especially plausible, causing a loss of interest in comparison to other periods and artistic manifestations. The use of audiovisual resources helps to alleviate the situation, even awakening curiosity for cross-cutting artistic issues that, in addition to expanding content, can be applied to different subjects. The case we are dealing with is particularly significant because, in addition to having an accessible duration, its high artistic and technical level allows us to explore different possibilities: narrative, art direction, costume, hairdressing, makeup, music... through which to propose activities of a different nature, where initiative and creativity are a relevant criterion. Direct experience in the classroom with students of the Art History Degree and the Universal Art course of the History Degree confirms the effectiveness of the method.

The past has been a source of inspiration for the arts in Japan since ancient times. From the literary genre of gunki monogatari in the Heian period (794-1185/1192), through the ukiyo-e woodblocks of the Edo period (1603-1868) and on to the jidaigeki cinema of the 20th century, it is now mainly historical anime that continues to enrich this artistic tradition. It is especially recurrent to take inspiration from the Sengoku period (1467/1477-1603) or «era of the warring states», characterized by the absence of centralized power. While adaptations of this period tend to revolve around specific historical figures, at the opposite extreme we have the anime Dororo, developed by studio MAPPA in 2019, an updated adaptation of the series of the same name written and illustrated by Tezuka Osamu, also known as the God of Manga. We believe that the relevance of the original work, together with the technical and artistic quality of this animated version, make it the ideal case of study with which to bring to the classroom not only the Japanese Middle Ages, but also the interest in other cultures such as the Japanese one.

Over the years, the audiovisual sphere has undergone a series of transformations, which are based on the logic of the market economy of our system. This study will address this phenomenon focusing mainly on two aspects that represent a major change for the audiovisual market and for the type of audiovisual products: the promotion of streaming platforms, mainly Netflix, and the consumption of series. It will also consider how social structures themselves condition the current consumption model and popular mass culture.

We examine the work of the Russian filmmaker Andréi Tarkovsky in order to trace the different types of love that, in our opinion, come together in it, namely: love for the couple, for the family, for the homeland and for humanity. Addressing an issue such as love involves many difficulties, since it is an elusive and multi-faceted concept. Therefore, we will try to penetrate the question of love but always from the perspective and thought of Tarkovsky. Not in vain, the desired objective is none other than to explore this director's conception of love and to show how that love was captured on celluloid.  

Post-apocalyptic TV shows offer viewers the opportunity to observe how a society is constructed from a hypothetical initial stage resulting from the destruction of a previous system. In the series The Walking Dead (AMC Studios, 2010-2022), financial capitalism and the institutions that support it collapse due to an epidemic outbreak that turn the population into zombies. As a result, the characters must confront the challenge of surviving in extreme conditions, something that can only be achieved through the reorganisation of the survivors. The analysis of this economic, territorial, social, and political organisation from a (pre)historical perspective and its critical review in the light of the data provided by social sciences such as archaeology and anthropology allow The Walking Dead series to be used as a didactic resource to achieve a better understanding of hunters-gatherers and early producer prehistoric societies.

Desde los albores del s. XXI las series televisivas de temática histórica no han hecho más que ganar adeptos entre el gran público. En la actualidad, el fenómeno alcanza dimensiones colosales apoyándose en el streaming, pues se han diversificado los espacios y épocas representadas, al tiempo que se consiguen atmósferas mucho más verosímiles. Paralelamente vivimos en los tiempos del mass media, cuando las redes sociales y la multipantalla son ya indisolubles del contexto diario dentro de cualquier aula. La acción y la adaptabilidad crean oportunidades, dijo el actor protagonista de Twin Peaks, Kyle Maclachlan sobre su relación con David Lynch, y de igual modo pienso que el contexto digital puede y debe ser aprovechado según la sensibilidad del actual alumnado. Por tanto, nuestro objetivo en este monográfico será analizar distintos shows de inspiración histórica –ya sea de manera directa o indirecta– en su plano narrativo y técnico, aunque sobre todo hemos incidido sobre sus múltiples utilidades en el ámbito de la docencia innovadora.

The article presents the results of investigation and contrast between the Curriculum of the Basic Education Career for I and II cycle of the National Pedagogical University Francisco Morazán, UPNFM, the National Basic Curriculum CNB, the Design of the National Basic Curriculum of the Ministry of Education of Honduras, DCNB and MCESCA. Likewise, it has as a general objective, to describe the relationship between the four documents through qualitative content analysis. The main results include: the binding and dependent relationship between the Career Curriculum, the National Basic Curriculum and its curriculum design. In addition, it identifies the presence and marked correspondence in profiles and competencies, as well as in the fields of knowledge, content and its organizational structure. It is also observed that, despite having different curricular concretions, the Career Studies Plan and the MCESCA have relationship in terms of the use of competences as a common unit of measure between both. It follows that the MCESCA has a normative function for convenience. Concluding that, in contrast to the curriculum, it responds to temporarily different realities, since both were built from different models of curricular organization.