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

This text addresses the representations of the violation of rights in the judicial and penitentiary context of Latin America. An analytical review of six documentary feature films is carried out. These films investigate the subject of criminal law and the subject of the judicial system. The research offers a reflection on the strengths of documentary cinema as a reporting tool to make particular situations visible. Documentary cinema can also promote effective changes in systems that affect society as a whole. Furthermore, these study areas are in a context of inequality common to many sectors of the population in Latin America. A situation that has been attended by documentary cinema since the arrival of the New Latin American Cinema. Using a qualitative methodology, the following films are analyzed: The island of the lost children (Florence Jaugey, 2001, Nicaragua), The prison and the street (Liliana Sulzbach, 2004, Brazil), Justice (María Augusta Ramos, 2004, Brazil - Holland), The old thieves. The legends of Artegio (Everardo González, 2007, Mexico), Presumed guilty (Roberto Hernández and Geoffrey Smith, 2008, Mexico) and Claudia (Marcel Gonnet Wainmayer, 2010, Argentina). The results obtained are reflected from an analytical perspective that identifies those narrative strategies that consolidated the social focus of the documentary. Today these strategies have not lost their validity but have been adapted to continue reporting situations of injustice.

Cinema as a mass media, contributes to the formation and circulation of knowledge about reality. This article presents the concept of social representation and its relationship with Colombian cinema. Also, it shows how these two elements converge in the construction of peace, since it promotes the formation of realities and social representations that influence the way in which people organize themselves and relate to their environment. Social representations can constitute a set of thoughts, communicative elements and social constructions through which individuals or groups guide their behavior, therein lies the transforming power of cinema and its influence on society from the positioning of its explicit and implicit messages through its particular narratives. Based on a reflective exercise on the dynamics of the representation of the conflict and the peace building on a national level, a partial analysis is carried out, showing cinema has invigorated the events in the Montes de María region, located in the northern coast of Colombia.

This article is the result of the research project "Social history of cinema in Cartagena 1958 - 1971", where different aspects of the experience of film clubs in the sixties are analyzed. For this purpose, here the cinema is placed at the center of the social experience, with a view to describing the changes, tensions and continuities that occurred in a decade of great world events that had repercussions in Cartagena. Among these events we highlight the formation of youth political subjectivity, which manifested itself in art and culture, where film clubs played a relevant role; therefore, these functioned as schools of cinematographic practice both in their appreciation and in their production, and especially, in their implications for political formation, in a context where the Cuban Revolution marked part of the youthful sociability of that time. Elements that are taken into account regarding this overturning of the cinematographic culture in Cartagena, have to do with censorship, the anti-communist press and the role of film club members in the Cartagena International Film Festival, where a young Alberto Sierra Velázquez had a remarkable role, not only in the cinema, but also in literature, theater and film criticism among other expressions framed in the counterculture. The article is divided into three parts. The first highlights the new youth sociability that is a manifestation of the critical political stance regarding inequality and social exclusion, as well as the liberation struggles that were waged in the so-called Third World. A second part offers a first balance of the experience of the film club in Latin America and the Caribbean. And finally, the evolution of the film club in Cartagena in the period studied is given

Given (2019) is an anime based on the unpublished story of Natsuki Kizu and globally taken to the medium screen through Crunchyroll. This animated series tells the story of Mafuyu Sato, a teenager who, faced with the inability to face the disruptive loss of his romantic partner, decides to join Ritsuka’s rock band Uenoyama, who happens to be the coprotagonist character that taught Mafuyu (and himself) the importance of music as a method of expression and coping strategy in the face of the death and grief. According to the above, this article intends to examine the narrative and psychological approaches of the animated product mentioned before, from a qualitative approach and considering the categories gender and psychosocial development.

This article makes an analysis of a series of blood crimes in which women participate as determining perpetrators and that has as a result the commission of the crime of uxoricide and that were committed in the city of Cartagena between the years 1985 and 1988. This investigation is supported by a press source that rests in the archives of the newspaper El Universal de Cartagena. The text is divided into two parts, in the first part a conceptualization related to female criminality is constructed, seeking to explain the criminal and transgressive phenomenon in women from criminology. In the second part, an analysis is made of a series of blood crimes within the context of intrafamily violence that occurred in the city of Cartagena between 1985 and 1988 and of female authorship that appear registered in the local press, highlighting their cultural context and the circumstances of the commission of the crime.

The web 2.0 model offers enormous communication potential to inform and educate in extreme crises, such as COVID-19. For this reason, the main objective is to analyze whether destination marketing organizations (DMOs) and tourism influencers 2.0 have used their channels to inform and educate about COVID-19 and the level of influence of this content on users. A quantitative and qualitative methodology is implemented to develop the research protocol, evaluating two periods delimited by the effects of COVID-19 (lockdown and de-escalation). The research is carried out on Instagram, and the sample corresponds to tourism DMOs and influencers 2.0 with the most significant impact on millennials. The results show that COVID-19 has not been a priority either for DMOs or for influencers since posts in this regard have little presence compared to those that promote tourism products and services. Regarding engagement, these types of publications do not have the highest rates, showing followers’ lack of concern. Consequently, there is little interest in health as a new dimension of tourism sustainability from DMOs’ and influencers’ standpoint. However, contrary to the general opinion about the growing role of sustainability , it does fit their preferences.

Current studies on the effects of disinformation have mainly focused on politics, whereas fake health news are potentially more harmful to consumer welfare than political hoaxes. The most representative example of this approach is the current crisis caused by the coronavirus pandemic. The World Health Organization alerted, in February 2020, of another coronavirus-associated pandemic: the infodemic, which refers to the spread of false information on health with direct consequences for people’s well-being. To study this phenomenon further, this research, which has a clear international projection, aims to identify the media frames that predominate in COVID-19-related hoaxes in Spain (N = 708), as detected by the Maldita.es and Colombiacheck verification platforms. From an inductive perspective—qualitative methodology—five frames were inferred to analyze this infodemic: “impact,” “polarization,” “super-remedies,” “causes,” and “clickbait.” The results show that “impact” is the dominant frame and refers to hoaxes that inspire fear and confusion in the audience. These results are somehow logical; considering the intrinsic characteristics of hoaxes that include the “impact” frame, disinformation induces the user’s urgent need to alarm or alert other individuals.

On March 14, 2020, a state of alarm was decreed in Spain, including restrictive mobility and economic activity measures. These restrictions caused changes in life habits, entertainment, and media consumption. The constant need for information promoted television as a trusted channel to bring current affairs closer to citizens. The interruption of programming with news flashes marked the program schedule and triggered TV consumption, especially during strict lockdown. There was a drop in television advertising investment of -18.4 % compared to 2019 and -50 % in April and May. Two reasons can explain the increase in TV consumption: the need for information on the epidemiological context and the increased time that citizens spent in their residence due to mobility restrictions. The first point can be contrasted with the significant increase in the audience of newscasts and the second with the correlation between citizens’ consumption and mobility. This analysis makes it possible to predict TV consumption based on mobility and design better media planning strategies tailored to the possible scenarios caused by COVID-19.

Stay-at-home orders have been measures taken by many countries to protect people from Sars-CoV-2; therefore, the use of devices connected to the internet has increased. In Spain, children have also been locked down, making the internet a necessary channel for learning and socialization. This paper intends to study how the online communicative activity of children aged 6 to 12 took place during and after lockdown. The various statistical tests performed reveal that the increased use of devices during lockdown is related mostly to socialization, entertainment, and gaming. The findings show numerous intergenerational tensions between the adult population and children regarding the internet.

This article explores the phenomenon of identity assumption on social media and the influence that artificial intelligence (bots) has so that external agents can take advantage of the vulnerable moments of various individuals. The subject is approached from the perspective offered by Jacques Lacan’s and René Girard’s studies, following the path of media ecology. The research is based on analyzing the phenomenon of manipulation on Twitter around the case of the migrant caravan of 2018 and the spread of hate speech.