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

Necesidades múltiples para pantallas múltiples: prácticas, motivaciones y distribución de atenciónNecessidades múltiplas para telas múltiplas: práticas, motivações e distribuição de atençãoMulti-screening is an emergent but fast-growing and fast-changing practice, evolving along with the technologies that mediate it. This article presents a study on multi-screening, i.e., simultaneously or sequentially engaging with more than one screened-media. Based on the uses and gratifications theory, our study focused on the most common multi-screening scenario—engaging with the smartphone while watching TV—in order to explore triggers, motivations, gratifications, and attention distribution. The methodology is qualitative in nature, including ethnographic journals and follow-up interviews to a sample of 30 young adults, and the data was collected in Portugal and Spain. The activities performed on each device are usually disconnected and motivated by the need to enhance the entertainment afforded by the TV or to obtain a sense of efficiency. The attention is distributed in alternated periods, and the smartphone has a greater ability of demanding attention and retaining the engagement.To reference this paper / para citar este artículo / para citar este artigoDias, P. & Serrano-Puche, J. (2020). Multi-needs for multi-screening: Practices, motivations and attention distribution. Palabra Clave, 23(1), e2312. DOI: https://doi.org/10.5294/pacla.2020.23.1.2Recibido: 07/05/2018Aceptado: 17/01/201Online: 13/12/2019

Técnica cinematográfica: una economía moderna del tiempo, el cuerpo y el almaTécnica cinematográfica: uma economia moderna do tempo, o corpo e a almaFrom its very grounds, cinematic expressions are conditioned by the set of a priori technical decisions taken even before any shooting could take place. Film technique allows the creation of images as much as it tends to prefigure possible experimentations and social appropriations. However, this repression has remained silenced because of the naturalization of the imitative, aesthetical and social function of film. It was only in the context of the modern comprehension of time, measured by exact and equal instants by the chronometric clock, that it was possible to invent a device that divided movement in precise and homogeneous instants to be reconstructed on the screen. Resonating with these researches on movement that permitted the development of film technique, new techniques of the body to calculate human perception and attention processes also appeared. Then, the body was not only an object of technical observation in terms of movement, but also in terms of mental activity. As much as the body was understood as a machine of movement, the soul was conceived as a measurable affective system. Finally, the ultimate strategy to make a priori technical presuppositions that remain invisible would be the automation and standardization of film devices. When technique is globally unified, the circle of naturalization is closed.Para citar este artículo / to reference this article / para citar este artigoCárdenas, J. D. (2019). Film Technique: A Modern Economy of Time, Body and Soul. Palabra Clave, 22(2), e2222. DOI:  10.5294/pacla.2019.22.2.2Recibido: 2018-05-21Aceptado: 2018-09-21

La borradura del rostro: prácticas artísticas y el problema de la visibilidad de las víctimasOcultamento do rosto: práticas artísticas e o problema da visibilidade das vítimasThis article explores one of the most common strategies to make victims of the conflict in Colombia visible: Exposing their faces. Based on Georges Didi-Huberman’s concept of overexposure, the effectiveness of this strategy is questioned with respect to various blurring practices that have tried to make victims invisible. In reinterpreting the notion of blurring, it seeks to show the power of thinking of the face as a multiplicity rather than as an identity matrix when it comes to spotlighting the violence that has affected thousands of people for decades.Para citar este artículo / to reference this article / para citar este artigoArias, J. C. (2019). La borradura del rostro: prácticas artísticas y el problema de la visibilidad de las víctimas. Palabra Clave, 22(2), e2224. DOI: 10.5294/pacla.2019.22.2.4Recibido: 25/06/2018Aceptado: 21/09/2018

Conectados en imprenta: Selecciones del Reader’s Digest, relaciones culturales de Estados Unidos y la construcción de una clase media globalConectados em publicação: Seleções do Reader’s Digest, relações culturais dos Estados Unidos e a construção de uma classe média globalThis article traces the early history of the Reader’s Digest’s global editions, and in particular its Latin American magazine, Selecciones del Reader’s Digest, viewing this popularly consumed text as a window into transnational government and media initiatives to forge a “global middle class.” It contends that the magazine, rather than merely idealizing life in the United States, asserted that readers could use media to join an imagined community of likeminded “professionals” and “free peoples” around the world. Using documents from the U.S. National Archives, the magazine, as well as a variety of other press sources, the paper untangles the connections between the first truly-global U.S. consumer magazine and the U.S. geopolitical project. First, it describes the relationship between the launch of Reader’s Digest’s Latin American edition and the U.S. cultural campaign’s wartime initiatives; second, it examines the magazine’s content, illustrating how the notion of a global connection was depicted in its pages. Taken together, these sections illustrate how the transnational mass media not only normalized the notion of a righteous middle class but also narrated that group’s globality, seeking to implicate the reader in its scope.To reference this paper / para citar este artículo / para citar este artigoUbelaker Andrade, L. (2019). Connected in print: Selecciones del Reader’s Digest, U.S. cultural relations, and the construction of a global middle class. Palabra Clave, 22(4), e2247. DOI: https://doi.org/10.5294/pacla.2019.22.4.7Recibido: 01/03/2019Aceptado: 08/06/2019Publicado en línea: 02/10/2019* This article stems from the authors dissertation research (though she wrote the article independent from the dissertation), which was financed by the Social Science Research Council, Mellon Mays Foundation, and Fulbright.

Pictures of Victims of the Armed Conflict in Semana: Politics, Cultural Meanings, and VisibilityAs imagens das vítimas do conflito armado na revista Semana: políticas, significados culturais e visibilizaçãoThis article discusses how victims were made visible by some publications of the magazine Semana. It examines how images, in correlation with journalistic texts, contribute to building a visual regime that contains and reinforces the notion of victim identifiable in Law 975 of July 25, 2005 and Law 1448 of June 10, 2011. It is suggested that such images address viewers from a symbolic-sensitive perspective, thus becoming formative devices to understand and narrate the Colombian conflict. For this purpose, some of the themes and discourses on victims that circulated between 2010-2014 are analyzed. The morphological components of images are studied in relation to their accompanying articles, and their relationships with the cultural meanings of the time are identified. It is concluded that pictures of victims place a high value on sensitivity as incentive for the significance of politics, war and humanity, but also create visibilities that speak of horror and are immobilizing. Articles and photographs spotlight victims in a way that helps to establish static relationships and suspended identities, while putting events in a dangerous presentism that appeals to spectators to reconsider and construct certain ideological meanings.Para citar este artículo / to reference this article / para citar este artigoOlaya, D. V. (2020). Las imágenes de las víctimas del conflicto armado en la revista Semana: políticas, significados culturales y visibilización. Palabra Clave, 23(1), e2316. DOI: https://doi.org/10.5294/pacla.2020.23.1.6Recibido: 05/09/2018Aceptado: 10/02/2019Online: 13/12/2019* This article is part of the results of the research project called Educating the Eye and Visual Regimes of Political Violence in Colombia, identified by code DPG-435-16 and funded by the Universidad Pedagógica Nacional Research Center.

Carmen Miranda in Hollywood (1939- 1945): In the Middle of the Screen, on the Edge of HistoryCarmen Miranda em Hollywood (1939-1945): no centro da tela, à margen da históriaIn this article, I analyze the character that Carmen Miranda —a famous actress and singer still remembered today as the Brazilian bombshell— performed between 1939 and 1945. I intend to explore how her presence on the screen accounts for American desires and fears, associated in part with World War II, but especially in relation to race and gender imaginaries. For this, I examine the musical comedies in which the actress appeared and focus on her role in narratives. I note that, while the characters performed by Miranda are central in musicals acts, they appear little on the scene for the rest of the films and do not carry out actions that contribute to the plot. I also show that Miranda did not meet the hemispheric integration standards proposed by the Office of Inter-American Affairs —US government agency created to strengthen inter-American cooperation during the war— as she perpetuated negative stereotypes of Latin America. Accordingly, I maintain that her role was to attract and please the American public. She made use of her ability to be funny and sexy at the same time, which, I contend, derived from her place in the racial hierarchy of the time. My paper is novel as it takes for granted some aspects to which attention has already been drawn, such as Carmen Miranda’s costumes and accent, and centers on the narrative of her films, unexplored so far.Para citar este artículo / to reference this article / para citar este artigoOrozco-Espinel, P. (2019). Carmen Miranda en Hollywood (1939-1945): en el centro de la pantalla, al borde de la historia. Palabra Clave, 22(4), e2248. DOI: https://doi. org/10.5294/pacla.2019.22.4.8Recibido: 01/03/2019Aceptado: 26/06/2019Publicado en línea: 27/08/2019

Estrategias de crecimiento de las empresas de medios: análisis de eficienciaEstratégias de crescimento das empresas de mídia: análise de eficiênciaThis paper analyzes the media and entertainment companies’ main strategic options about what to do for growing—internationalization or diversification—and how to do it—organic and inorganic growth—in a context of ever growing competition. We identify correlations between those strategies and three basic pillars of managers’ decision-making process: growth, profitability, and indebtedness. We conclude that mergers and acquisitions can generate rapid growth, but they are expensive in terms of Return on Investment Capital (ROIC) and they usually increase the leverage of the company. Therefore, the inorganic path could not be the best option for companies with difficulties to get access to capital or for very cyclical businesses. In addition, we identify that vertical integration generates a lower ROIC than horizontal integration, and we show how internationalization strategies increase the profitability of audiovisual companies. We analyze the basic indicators of 50 listed companies in the sector that meet three criteria necessary for our study: data transparency, sufficient size of the company, and a certain trajectory that would allow us to study the consequences of the chosen strategies over long periods of time, at least 15 years. We study the firms’ evolution from 2010 to 2016 with metrics from the Thomson Reuters database. In that last year, they accounted for 88 percent of global television revenue.To reference this paper / para citar este artículo / para citar este artigoMedina, M., Sánchez-Tabernero, A., & Larrainzar, A. (2020). Growth strategies of media companies: Efficiency analysis. Palabra Clave, 23(1), e2317. DOI: https://doi.org/10.5294/pacla.2020.23.1.7Recibido: 12/11/2018Aceptado: 13/02/2019Online: 13/12/2019* Spanish Government fund: Reasons to consume fiction and entertainment audiovisual contents in the Spanish market  CSO2015-64615-R (MINECO/FEDER)

Reclaiming Detail: Barthesian Subtleties and Catalysis in TV FictionReivindicar o detalhe: sutilezas e catálise barthesianas na ficção televisivaThis article verifies the importance of catalysts, as formulated by Roland Barthes, to put a value on details in narrative description. We start from his hypothesis that the seemingly insignificant in a narrative is what produces the effect of reality and propose to analyze contemporary television series from what is apparently useless in the story. For this, we explored, from a semiotic perspective, four paradigmatic study cases that have distanced themselves from conventional engagement and show mechanisms and have formally bet on subtlety and attention to detail—the dialogued In Treatment (Hagai Levi, Rodrigo García, HBO: 2008-2010), the hyper-stylish Mad Men (Matthew Weiner, AMC: 2007-2015), the irreverent Breaking Bad (Vince Gilligan, AMC: 2008-2013), and the sinister True Detective (HBO: 2014-). Analyses revealed how the catalysts in these TV fictions bring into play what is difficult to explain, giving credibility to the fortuitous, inconsequential, and even inexplicable.Para citar este artículo / to reference this article / para citar este artigoGarcía-Catalán, S., Sorolla-Romero, T. y Martín-Núñez, M. (2019). Reivindicar el detalle: sutilezas y catálisis barthesianas en la ficción televisiva. Palabra Clave, 22(3), e2233. DOI: https://doi.org/10.5294/pacla.2019.22.3.3Recibido: 05/09/2018Aceptado: 26/10/2018

Dehumanization and Legitimization of Armed Conflicts in War Video GamesDesumanização e legitimação dos conflitos armados nos videogames bélicosThis article collects predominant representation or representations of war in war video games. To this end, a content analysis is carried out on a sample of 62 video games, which was taken following the sampling criteria of volume of sales or number of downloads in Spain between 2005-2015. This analysis is based on three conceptual lines: a) conflict legitimizers; b) enemy dehumanizers; and c) player de-individualizers. Results show the prevalence of a defense-centered legitimizing discourse of the conflict with no territorial or resource motivations, the absence of civilians during the action of the game, a predominance of enemies with homogeneous appearance and behavior who lack distinctive features and are realistically represented, and some main characters with a default design, heroic background and unreal invulnerability. Relying on the cultivation theory, this descriptive work establishes an empirical basis for further studies on how regular users of this kind of leisure activity construct beliefs and attitudes.Para citar este artículo / to reference this article / para citar este artigoGonzález-Vázquez, A. e Igartua, J. J. (2020). Deshumanización y legitimación de los conflictos armados en los videojuegos bélicos. Palabra Clave, 23(1), e2314. DOI: https://doi.org/10.5294/pacla.2019.23.1.4Recibido: 26/09/2019Aceptado: 31/01/2019Online: 13/12/2019

Reseña del libro: González-Bernal, M. I., Roncallo-Dow, S.; Arango-Forero, G.A. (2018). Estudiar las audiencias, tradiciones y perspectivas. Bogotá, Colombia: Universidad de La Sabana. 336 páginas, ISBN 978-958-12-0482-3Este libro pretende plantear, cuando menos, algunas preguntas sobre el problema de las audiencias: ¿cuál es el efecto y el impacto que estas nuevas formas de categorizar a las audiencias pueden tener en la propia industria de los medios y los mercados de la comunicación? ¿Qué corrientes de estudio alrededor de las audiencias nos pueden ayudar mejor para explicar este fenómeno? ¿Cuáles han quedado relegadas dentro de esta transformación comunicativa?Además, su interés es mostrar los retos teóricos e investigativos que implica hoy pensar las audiencias, y ofrecer al lector una introducción extensa al problema. Su objetivo es ampliar el debate, moviéndolo de un escenario fragmentado en las visiones sobre la audiencia a uno integrador, que acerca a los investigadores a tener consideraciones que vinculan diferentes preguntas y que permiten acercarse de mejor manera a los individuos, más que a la cuantificación de sus consumos.Para citar esta reseña / to reference this review / para citar esta resenhaVentín-Sánchez, A. (2019). Audiencias: de lo teórico a lo práctico. Tradiciones de un concepto falsable. Palabra Clave 22(1), e22111. DOI: 10.5294/pacla.2019.22.1.11