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

The following article has the purpose of revealing the result of a critical study regarding the work with the map as a method in the teaching-learning process of Geography in Cuba and the general conceptions about its use from a deep bibliographical revision and others Research Methods.

The purpose of the article is to disseminate some of the results of the research conducted in Uruguay between 2017 and 2018 on initial training of teachers on educational and disciplinary use of technologies. Firstly, the problems identified in education policies for the inclusion of technologies in classrooms are presented, and the conceptual lines that define the research are outlined. The methodology and the tools used for addressing the problem are also presented with the aim of identifying the formal courses taken for the integration of the ICTs, the contents and the activities proposed in them, and the students’ perceptions about their learning and practices regarding technologies.

The present research provides an overview of the basic documentation process in the field of arts journalism. After perusing the established curriculums in the Spanish Schools of Journalism and finding out that only half of them teach the subject of Specialized Journalism, and that, moreover, only a few offer elective courses in arts, we considered an article highlighting the best practices for documenting in arts journalism to be of the utmost importance. The final goal of this research is to develop a common methodological framework for optimizing artistic content in journalism.

The objective is to offer a joint vision on the current situation of cinema in relation to open access and Iberoamerican projection; of film heritage and its positioning and visibility; of the latest technological trends in cinema; of the new profiles and professional roles; of film production in social networks; and, finally, to inform about collaborations and joint investigations in progress. As methodology, we have proceeded to search and consult specialized bibliography, to finally verify that publications on film heritage in open access are very small and very dispersed: it is proved that it is a subject hardly discussed in areas and professional forums specialized in film information management. But it is present in a referenced way in some blogs, portals, channels and social networks, and in this sense some example is the multimedia documentation service own production of the Complutense University: Cinedocnet, Redauvi, RTVDoc. As proposed results, in order to counteract the dispersion and lack of channeling detected to have more complete open access to cinematographic funds and their interconnection, and to complement the aforementioned own production, an IberoAmerican Repository of cinematographic reference sources online is suggested,  created as result of this work and open to permanent update. And also the establishment of an IberoAmerican Network for the digital preservation of sound and audiovisual archives 2019-2022 (Ripdasa), which is already being worked as a result of an research groups project from seven LatinAmerican countries in which Complutense University participates through the library and information management department.

This research studies the Cultural and Creative District of the Ouseburn Valley (Newcastle-Upon-Tyne, United Kingdom) by identifying its most relevant spaces through an analysis of the filmography associated with it. The main actors of the district are determined in order to further consider them when managing the brand images of other cultural and creative districts; which is important since these spaces are key for urban revitalization (Rosselló & Wright, 2010; UNESCO, 2016). In this regard, a content analysis of a selection of 24 audiovisuals produced between 1939 and 2019 linked to the Ouseburn Valley -recovered thanks to the film archive of the Ouseburn Trust and the North-East Film Archive- is performed. This is done by applying the Grounded Theory (Glaser & Strauss, 1967) (Saunders, Thornhill & Lewis, 2009). Thusly, an understanding of the evolution of the district is achieved which establishes and identifies the values linked to it and how these have been changing throughout history. Likewise, the most important actors in the Ouseburn Valley are spotted. These are those that the collective imaginary associates to this district thanks to audiovisuals as the analysed, and whose identification is of relevance for the management of the brand-district of the Ouseburn Valley.

Advertising reflects the desires and needs of the people, with the result that its study allows us to analyse the economic, historical and sociological evolution of the individuals for whom this advertising has been created. The access to the advertising messages produced throughout History is fundamental to study the transformation of our societies, but media such as the advertising cinema are very difficult to access to due to its material fragility and to the lack of projects devoted to the analysis and dissemination of its content. This article summarises the process carried out by a group of researchers and professionals of the Spanish Film Archive to recover, catalogue and analyse a collection of documents that belonged to the historical agency Publicidad Gisbert. To do so, the team used the methodology applied to all the materials that are recovered in the institution. The study of this collection resulted in the recovery of advertising films, slides, pictures and a document archive produced in the agency from 1953 to 1976. These materials are an interesting primary source of information that allows us to study not only the advertising cinema, but also the different possibilities of the cinema screen and the cinema theatres as vehicles for the advertising exhibition.

The objective of this research is to study the cinematographic censorship carried out in Spain during the Franquism, and how the censorship decisions, as well as the future of the Administration, directly affected the films made at that time. In order to understand this situation and, especially, the relevant role played by the Catholic Church, an analysis will be made of the film Los jueves, milagro (Luis G. Berlanga, 1957), a paradigmatic case of the filmmaker's disagreement with Spanish censorship. The starting point of this analysis starts with the initiative taken by Filmoteca Española which, in 1980 decided to restore the film. The study reconstructs both the research process carried out in the restoration, as well as the search process through the FIAF, as well as the results obtained in the various film libraries in which materials of various kinds were found, giving rise to a situation unknown until now: a double version of Berlanga's film. This discovery not only made possible the restoration of the film, but also served to know the cuts of assembly and the consequent modifications that the censorship carried out on the same one.

This article seeks to analyse the creation of Repsol’s Historical Archive, an essential tool for understanding the development of the hydrocarbon sector in Spain. The article also explains how to access the aforementioned Archive. The paper will first examine how the Spanish hydrocarbon sector emerged and how said sector operated after the passing of the Petroleum Monopoly Law in 1927 until Repsol’s foundation in 1987. The second part of the article will explore both the creation of Repsol’s Historical Archive, specifically its photographic section, and its inventory, filing and conservation processes. In the third section, the paper will explain how access to our archive is controlled and what steps the company is taking to promote it. Finally, the article addresses Repsol’s intention to transform its Historical Archive into a resource for society as a whole. However, this will undoubtedly be a long process, because we have to digitalise our fonds,-or archive groups-, and incorporate them into Repsol’s file management system. Futhermore, we have to comply with the General Data Protection Regulation that came into force last May.

The film credits were originally incorporated into the films with the intention of recording their interpreters and creative and technical managers. However, with the narrative evolution of the cinema these became, in an increasingly frequent way, in small narrative pieces with substance and own independence to be taken into account and, therefore, analyzed. This article focuses on the analysis of the credit titles of Lilith (1964), director Robert Rossen’ latest film, which forms a personal and unrepeatable diptych together with The Hustler (1961). In the credits of Lilith the director poses in a complex way, and with a high conceptualization and abstraction, narrative, symbolic and discursive questions that will be developed in the body of the film. This will to say of the director, to record on himself and on the world, is printed on this set piece, turning it into a condensed narrative of high value and complexity, showing almost unique in its kind, creating a micro-story of independent value with infrequent complexity.

The present text intends to expose the fertile significant apparatus displayed in the social themed feature films directed by José Antonio Nieves Conde through the textual analysis of a paradigmatic film such as Todos somos necesarios, demonstrating the way in which the enunciative mechanisms forge and reinforce the discourse of the text, revealing an enunciative device of unusual richness and singular hybridity, whose images approach an apparently realistic register, taking paradoxically opposite aesthetic options as a reference in their high degree of stylization.