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

In this research we propose seventh art as a new pedagogical technique in order to teach empathy at medicine school during pandemic cause by SARS-CoV-2/COVID-19. This is an observational study that explore the uses film documentaries to keep the level of empathy in medicine students of the first year. In this study we show that developing a critical thinking about the ways other people live and highlighting the needs and requirements of suffering people, it might conserve and increase the level of empathy.

This essay articulates some considerations on the analytical practice of Françoise Dolto and her handling of pictorial productions of child patients. To this end, it draws on the film “Françoise Dolto, le désir de vivre”. It presents a brief description of the film to introduce some fundamentals describing the clinical practice of Françoise Dolto, and then presents some theoretical and clinical considerations about the drawings presented in the two clinical cases illustrated in the movie.

Pieces of a Woman (Kornél Mundruczó, 2020) is a story of loss, a journey through grieving and the attempt to recover, a story of love and pain. Through the seasons, we witness the grieving process of its protagonists, who approach the abrupt loss of their newborn baby in very different ways. These different ways of grieving are intertwined at times, showing incompatibility and assuming the final separation of the couple, as well as the approach of the protagonist to her own mother. The inner reconciliation of the protagonist with what happened, will be the result of an introspective, reflective and inner journey. In this article we will try to walk this path, recomposing the pieces in which both characters, as well as the character of the grandmother, are decomposing throughout the film.

Próximamente se estrena el filme “Argentina, 1985”, sobre el juicio a las juntas militares que gobernaron nuestro país durante la última dictadura militar. Con producción argentina y de Amazon Studios, y dirigida por Santiago Mitre, se recrea el histórico juicio a las juntas realizado por la justicia civil en 1985, bajo el gobierno del primer presidente del retorno a la democracia, el Dr. Raúl Ricardo Alfonsín. Este artículo es una reseña del mismo.

This article addresses the problem of the interaction between human beings and artificial intelligence based on the Turing test represented in the movie Ex Machina. Some of the main perspectives in relation to the philosophy of mind are reviewed and the problem posed by the film is analyzed, as to whether Ava, the humanoid robot, passes the Turing test, based on three hypotheses: The mental states described by John Searle constitute the three dimensions of the psychic world and moral deliberation: the factual dimension of perception, the estimative dimension of values, and the pragmatic dimension of actions. The second hypothesis affirms that ideas constitute intentional mental states, units of cultural transmission that, associated with emotional states, constitute feelings as neurocultural phenomena. The third hypothesis states that the community of meanings emerging from the link between affects and symbolic-cultural systems can be made up of both human beings and algorithmic systems. In this sense, the proof of strong artificial intelligence consists in the verification in such systems of affective (evaluative) mental states mediated by cultural interaction.

In recent years, a series of films have emerged, in which the main characters are required to confront processes of historical consciousness, but in which they are also forced to confront other characters who are opposed to keeping historical memory alive. Thus, cinema becomes a space for theoretical reflection about the relevance of developing processes of historical memory today. In this text, these films will be analyzed trying to unravel the ethical and psychological consequences of keeping the memory of violence and harm alive, and also analyzing the role that cinema plays when it comes to theorizing about the positions that we can adopt towards historical memory.

This article explores, on the one hand, the continuity of some of the main motifs of Arturo Pérez Reverte’s poetics in the author’s latest novel, El italiano (2021). On the other hand, it highlights the novel use (with respect to his previous works) that Pérez-Reverte makes of the figuration of the narrative voice itself within the novel in order to shift the character of his «tired» (that is, bitterly lucid and disillusioned) heroes to the narrative voice in order to preserve, in the novel, the remains of the classical hero and his epic. Thus it maintains a coherent correlation with the «discourse from the ruins» used in earlier works, in which, though, such discourse was produced from the character’s memory and not from the figurative narrative voice.

This article consists of a crossed analysis of two films by David Lynch related to other Hollywood classics: Detour, Kiss me deadly and Sunset Boulevard. With this dyptic, which merges metacinema, noir and melodrama, the American filmmaker re-imagines forms, characters, themes and styles from the so called «dream factory», and proposes a questioning and nostalgic approach of some of the quintessential images of USA cinema.

This essay aims to offer a detailed analysis of the formation of the semiotic subject in the writings of the poet and philosopher sor Juana Inés de la Cruz (San Miguel Nepantla 1648? - Mexico City 1695). In particular, this essay focuses on Neptuno Alegórico, a work by sor Juana that specifically shows what is the meaning of the expression «fluidification of the subject» that appears in the title, also clarifying how this process of fluidification works and what its consequences are. The end point of this essay is a new reading of sor Juana’s text that proposes a reflection on the use and development of new models of the subject that exist outside their essentialist limits. To support and facilitate this new reading, a theoretical framework will be adopted that includes Deleuze’s The Fold and the image of the Derridean khôra.