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

Based in the premise that media can contribute to the enforcement of a culture of lawfulness, the presence of messages reinforcing a legal culture in the Mexican newspapers is analyzed. After analyzing a sample of articles from six newspapers based in the cities of Culiacan, Sinaloa (El Debate, Noroeste, Primera Hora) and Guadalajara, Jalisco (Mural, El Informador, El Occidental), we found that these newspapers contribute little to the formation of a culture of lawfulness in a country with spikes in its rates of crime and violence.

Audiovisual content has entered a new media ecosystem that requires traditional television to consider a strategy of disseminating its content through new digital platforms. In this context, the present investigation studies the case of Peru’s open signal television channels to determine how they are adapting to digital platforms. To achieve this goal, a content analysis of the traditionally broadcast programming, the website, the application, and the social networks of the channel is carried out. The results of the research reveal that most channels do not offer their content through digital platforms. Although there is an isolated case that is committed to a subscription content model. There is no interactivity and active participation of the audience in the digital platforms of the channels.

This article studies the change in the style of the presentation of the information in Spain from the incorporation of two presenters who were catalysts for the establishment of a new style of presenting the information: Matías Prats and Lorenzo Milá. To that end, the academic literature has been revised, as well as the newspaper archives of the newspapers El País, La Vanguardia and ABC, and the documentary fund of TVE has been accessed through the company’s website. Each presenters, belongs at the time of the study, belongs to a public and private television channel. The work is part of a systematized historical study that will try to establish patterns, detect changes and divergences between theory and practice and analyze forms of content continuity and the appearance of new styles between 1990 and 2010.

Guatemalan television goes through three stages that start with the promotion of private commercial television and the annulment of public television, the proliferation of foreign content in programming and later, the digital transformation of communication with the consequent expansion of entertainment and changes in social communication. The present text reflects on the particularities of programming and its contents, describes the effects of digitization in television system and delves into the political and business influences in a technology framework of multiplatform communication. The results achieved demonstrate the necessity to drive reforms in three ways, first regulate the usufructuary law of television channels and all related with Digital Terrestrial Television, improve the quality of national programming television and ensure the Internet access an regulate its use.

Since the arrival of competition to television in Spain, family comedy has been one of the most successful television formats. Its permanence has been due to its ability to adapt to the new trends appeared in the television throughout the years, and to reinvent itself continuously to continue conquering to the audience. This article analyzes the evolution of family comedy in Spain from 1990 to 2014 and proposes a division in different stages whose beginning coincides with the premiere of novel series for the time, such as Farmacia de guardia (1992), Médico de Familia (1995) o Aquí no hay quien viva (2003). These comedies set the pattern during the following years of the genre until the saturation of the audience and the irruption of a new model that displaces the previous one.

Portuguese television has always struggled with the country’s demography, geography and permeability to foreign contents. Until 2001, Portuguese television was unable to fulfil any of the Directives regarding minimum European production quotas, and one of its key features was the undisputed dominance of Brazilian telenovelas over Portuguese audiences. Today the situation has changed dramatically and the number of Portuguese telenovelas being broadcasted raised exponentially, as well as its ratings and share. In this article we will examine a very specific period, from 2000 to 2016, and study the dramatic fiction produced in Portugal during this timeframe. We will analyse Portuguese telenovela’s hegemony over prime-time, and the impact it is having on other television genres.

Arancibia Juan Pablo; Salinas Claudio (Eds.) (2016), Comunicación política y democracia en América Latina, Barcelona, Editorial Gedisa-Ciespal, 2016, 220 p. ISBN: 978-84-9784-998-2

This article analyses how a new audio-visual format, the webdocumentary, deals with a problem related to drug trafficking in Mexico (disappearances and murders of women in Ciudad Juarez), in order to map the city and its criminality much alike a puzzle that can be freely interlocked. The idea is to provide meaning to a series of events considered from the perspective of catastrophe: tremendous, and lacking of significance. Based on traditional sources, the webdocumentary deals with unpublished material provided by a journalistic fieldwork that also gave birth to a book and a documentary. It is a triple investigation and revelation of a hidden reality whose violence spreads in the whole society. The troubling atmosphere of the webdocumentary appears to be an appropriate tool to report on this phenomenon.

The present article aims to give hints on the ways by which the masculine power emanating from narcotraffic has an influence on the images of the feminine body in the Mexican feature film Miss Bala, directed by Gerardo Naranjo (2011). The example of the short-film El otro sueño americano, directed by Enrique Arroyo (2004), will also be presented in order to introduce the analysis of Miss Bala and show that the violence exercised on the feminine body in Naranjo’s movie is far from being an isolated case. This research will analyze how the woman’s body is presented in those films as a space of expression of the patriarchal necropolitical domination associated with the violence that emerges from narcotraffic. The paper will explore more specifically in which ways Naranjo’s movie limits the feminine character’s control over her own body and by doing so perpetuates certain archetypical gender representations despite its aspiration to denounce the abuses suffered by women. However, the essay will also underline that certain acts of resistance undertaken by the protagonists of both films can reveal strategies that, although unsuccessful, do present the existence of an agency for the feminine characters.