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

The live streaming platforms of large operators such as Netflix have become established amidst the COVID-19 pandemic in Latin America. This scenario gives rise to unequal and inequitable processes in audiovisual production, distribution, and consumption. This paper intends to vindicate, recover, and encourage the discussion on audiovisual policy-making based on cultural diversity precepts to protect Latin American cinematographies and regulate the corporate, economic, and commercial power conditions of those companies that dominate the markets worldwide. The analysis strategy was based on a documentary and statistical review that describes how Latin American cinema shows a series of asymmetries, which remain in the analog stage and increase in a digital context. The lines of work proposed from this analysis are based on ten pivotal points to establish public policies for cultural diversity in the Latin American audiovisual sector.

The Salt of the Earth (2014) gathers two filmmakers, Wim Wenders and Juliano Ribero, and a photographer, Sebastião Salgado, to document Salgado’s career and personal environment, which are highly related to his work. This research sets out three specific objectives: to define how these filmmakers characterize Salgado’s persona and photographic act, to determine how his images are inserted in the film narration, and to figure out the most common photographic marks and effects in the movie. Methodologically, we have used the qualitative version of content analysis using Phillippe Dubois’ contributions concerning the formulas to incorporate photography into the cinema, Raymond Bellour’s work on photography as a real object in film productions, and Vítor Magalhães’s insights about high-speed photography applied to the film image. We conclude that the most recurrent photographic marks are the succession of photographs that make up the film narration, image freezes, and overlays. These effects initially combine images from the family archive to later focus on Salgado’s photographic projects.

Convergence and participatory culture are two of the most characteristic phenomena of the current media ecosystem. Their primary touchpoint lies in transmedia storytelling, complex stories that flow through multiple media and supports and ultimately rely on the collaboration of audiences for their expansion. From this approach, the present study aims to describe how high-impact Ibero-American research in this area has been conducted in the last decade (2011-2020). To do this, a meta-research was carried out with a sample of 148 articles whose common denominator is the concept of transmedia. After a systematic, objective, and quantitative content analysis, it is possible to affirm that this academic production hasan evident empirical and qualitative nature usually focused on the studying fictional stories disseminated through traditional cultural industries. However, there is also a change in trend led by digital social media and other themes beyond fiction.

In a health crisis, info-communicative scenarios for decision-making/action-taking are modified by public opinion in social media, impacting health. The study aims to characterize the symbolic construction of public opinions about Cuba’s cooperation amidst the COVID-19 health crisis, reflected in discourses and their symbols on Twitter between December 31, 2020, and January 18, 2021. Related tags include #CubaporlaVida, #CubaporlaSalud, #CubaCoopera, #CubaViva, #CubaSalvaVidas, and #ConunaNuevaSonrisa, accumulating 84,581 tweets. The perspective used is transdisciplinary to integrate the knowledge of social and computer sciences, while the approach is mixed to use polarity metrics. We used data mining on the web to delve into the content-structure-use link and critical analysis of multimodal discourse with a socio-cognitive approach to relate ideological structures. The instrument employed is Stela 5.2 software. The results reflect a polarized discourse, with a predominance of positive and neutral affinities, and the use of retweets, mentions, and metadata to amplify the message. Users directed their questions to political, media, and institutional accounts to talk about the subject.

Transmedia narrative universes and their multiverses have become the largest sources of audiovisual productions in the film and video game industries. Star Wars, the Tolkien universe, DC Comics, Harry Potter, and Marvel are examples of transmedia narratives that contain numerous storyworlds interconnected through transmedia, thus forming universes capable of creating new cinematographic productions and new multiplatform content incessantly. Much of their success is due to expansion and depth as crucial elements of transmediality and media convergence. The article discusses the distinctive aspects of these narrative universes through the case study of The Avengers saga, a nuclear part of the Marvel Cinematic Universe (UCM), from a multidisciplinary perspective involving discourse analysis and semiotics. Analyzing the content of the four films that are part of the saga allows us to identify the constant use of intertextual resources that come from the humanities (literature, history, philosophy, mythology, and film culture) and their relationship with the capacities for expansion and depth of transmedia narratives. The text proposes the need to highlight the importance of the humanistic foundations to create a deep, organic, and constantly expanding narrative universe of the saga, receivers’ holistic understanding of its meaning that can lead to the increased active participation of the fandom, and the creation of user-generated content and its link with this universe.

La crisis sanitaria de covid-19 tuvo un impacto global sobre nuestras vidas y que afectó a todos los ámbitos de la sociedad: la salud, la política, la economía y, también, a la comunicación, único punto de contacto de los ciudadanos con la realidad durante el confinamiento. En este número de la revista, pretendemos analizar retrospectivamente el impacto que la pandemia tuvo sobre la comunicación en todos aquellos temas que marcaron la agenda de los medios: la infodemia, la vacunación, el impacto en el consumo de medios, el tratamiento de la crisis en diferentes territorios, etcétera. Tratamos de analizar, desde la distancia que nos proporcionan estos dos años de pandemia, cómo ha impactado esta crisis en el ecosistema comunicativo, en los hábitos de consumo de medios y en la opinión pública.

This article aims to discuss the discourses of content creators on social media (YouTubers, streamers, Instagrammers, influencers) about their jobs to understand how they personify, connect with, and help build contemporary labor imaginaries. Various authors have pointed out how the world of work has undergone essential transformations that advance precariousness, casualization, and intermittence in the workplace. Creators in social media are examples of this new working world, in which flexibility and the search for personal fulfillment are extolled as a substitute for remuneration. This article intends to answer the following questions: How do digital content creators and traditional media depict their professional activity? How are these discourses related to contemporary labor imaginaries? A sample of forty videos posted between 2015 and 2022 in which eleven Spanish content creators explicitly talk about their work is qualitatively analyzed. Recurring patterns of meaning are identified through a thematic qualitative analysis. The analysis shows that although content creators initially talked about their work using enthusiastic speeches that underline their “passion for work,” there are more contradictory speeches in recent years. Creators speak openly about the cost of their jobs, characterized by intensification, confusion between personal and professional lives, and the emotional toll.

In this research, we set out to analyze, on the one hand, the promises of pluralism of four television channels in the months before the referendum of October 25th, 2020, in Chile, and on the other hand, how YouTube and Twitter audiences reacted to them. Through a mixed method of content analysis and qualitative analysis, we found that pluralism was not one of the most mentioned aspects by the public in these social media. When there were allusions to it, the assessment was negative. This article seeks to contribute to studies on pluralism not only in Chile but also at a more general level, focusing on a global phenomenon, such as the possibilities of participation that social media provide to audiences who consume journalistic content.

In the Mexican elections of June 2021, political parties, for the first time, nominated a similar number of men and women candidates for governor of the states in competition. This article presents a quantitative content analysis of the journalistic coverage of the political campaigns of these elections with a comparison between men and women candidates. To do this, N = 774 news stories published in 17 newsgroups on the campaigns of Baja California, Campeche, Chihuahua, Guerrero, Querétaro, and Zacatecas were retrieved. The results show that women appeared less frequently than men as protagonists of news stories, their actions and statements are less remarkable than those of their male counterparts, and their gender is reiterated to a greater extent. It is concluded that despite gender parity in the number of candidates, women remained underrepresented in the journalistic information collected.

La autora reflexiona sobre la importancia que adquiere para las organizaciones dedicadas a la comunicación conocer a las audiencias, públicos o consumidores, ya que estos reclaman una relación más participativa tanto en la construcción como en la distribución de los mensajes. El nuevo ecosistema comunicativo demanda creatividad de los gestores de contenidos para atraer a las audiencias, pero también atención de los encargados del engagement para entender los gustos, preferencias y necesidades de las personas a quienes va dirigido su mensaje.