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

This article aims to reconstruct the hiring of the Mexican actor Ramón Novarro —renowned in Hollywood— by the pioneering multimedia entrepreneur Jaime Yankelevich in 1934. The study of this specific case allows us to explore the innovative strategies developed by the capitalist to promote and position Radio Nacional, the flagship company of his media conglomerate. Our objective is to reconstruct the uniqueness of this commercial agreement, analyze the promotional maneuvers, advertising partnerships, press coverage, and assess the outcomes of the venture. The analysis reveals that the actor’s visit marked a milestone in the entertainment industry, confirming the effectiveness of attracting international film stars —adored by the public— to perform in front of microphones and on Buenos Aires stages. The benefits of this transaction extended to both the economic and artistic realms, resulting in the consolidation of an effective and replicable model for the future.

This article examines the media representations of LGBTIQA+ individuals across eight video-on-demand (VoD) platforms available in Mexico, with the aim of identifying their productive and symbolic patterns. Drawing on Cultural Studies, the analysis interrogates the ideological struggles embedded in global cultural production. The study is based on an examination of 152 audiovisual works addressing themes of sexual diversity, available on these platforms. The analysis focused on both technical details and representational content. The findings reveal that the majority of available content reflects the contexts, aspirations, power dynamics, and protagonisms rooted in the Global North, thus exposing their hegemonic character while marginalizing realities situated in countries of the Global South, such as Mexico. The article concludes that the content circulating on these globally-oriented platforms constitutes a cultural and identity-based field undergoing commodification, within which subaltern groups must contend for the right to self-representation.

This article presents a cinematic and contextual analysis of three documentaries by Belgian filmmaker Agnès Varda: L´opéra-Mouffe (1958), Uncle Yanco (1968), and Daguerréotypes (1975), which exemplify a self-referential approach to filmmaking. The central hypothesis suggests that, drawing from self-referential narrative frameworks, Varda produced a series of films that explore her personal subjectivity while simultaneously capturing and revealing meaningful aspects of her social environment. The analysis considers the circumstances that shaped the creation of these works, as well as formal and thematic elements that underpin these creative expressions—three documentaries that have been relatively overlooked in academic literature.

Live cinema is a practice that merges audiovisual arts with performative disciplines. Although mediated by new digital technologies, it generates a collective experience—one that is singular, ephemeral, and unrepeatable. Using the concept of the fold as an apt metaphor to describe this practice, this article explores the aesthetic pursuit or creative drive shared by artists working within this field. This pursuit is found in the dynamic relationships they establish between digital flows and corporeal reality. Live cinema is thus defined not only as a fold between cinematic language and new forms of audiovisual creation in the digital age, but also as a practice aimed at exploring new ways of engaging with the flow of digital data.

This study analyzes informational disorders and the verification methodologies employed by the Chilean platforms Mala Espina Check and Fact Check.CL during the 2022 and 2023 constitutional plebiscites. A quantitative-comparative approach and content analysis technique were applied. The sample consisted of 237 cases of disinformation verified by both platforms. The findings indicate that electoral disinformation circulates mainly on social media and, to a lesser extent, in traditional media outlets. This content typically originates from diffuse sources or is shared by public figures, and most frequently appears in image format. It is predominantly classified as misleading or impostor content, with a medium level of intentionality. The platforms verified these cases using reverse image searches and reviews of official documents. The conclusions suggest that political processes are the primary focus of intentional disinformation originating from diffuse sources. The study also highlights the need to implement complementary methodologies for the more rigorous selection, characterization, and classification of disinformation, enabling more complex and detailed analyses in future studies on electoral contexts.

This article examines the financial viability of digital-native media in Ecuador, with a comparative focus on cases from Quito and Guayaquil. Unlike studies centered on traditional media, this research addresses the new digital ventures that have emerged in Latin America since the late 1990s. A mixed-methodology approach is employed, combining structured questionnaires with in-depth interviews of media directors. The qualitative analysis of discourses was conducted using ATLAS.ti software, which helped identify editorial patterns, sustainability strategies, and organizational dynamics. The results reveal a high dependence on external funding sources and a marked heterogeneity in business models. It is concluded that continuous revision of the business model is essential for sustainability, especially in an environment characterized by media concentration and politicization, which threaten informational plurality and the democratic role of independent journalism.

This study examines RTVE’s coverage of historical memory in the context of the 50th anniversary of the military coup in Chile. Its objective is to assess two criteria related to media narratives and their subcategories, using a mixed-methods approach that combines exploratory and descriptive methodologies through content and discourse analysis of RTVE’s digital platform. The findings focus on three types of intertextual media: digital press, podcasts, and audiovisual content, highlighting the significance of oral testimonies and archival documents. The research demonstrates how RTVE constructs transmedia narratives that foster critical reflection on the past. Furthermore, it contributes to the preservation of historical memory and the reconstruction of inclusive identities, encouraging awareness of historical traumas.

This article explores the emergence and consolidation of radio broadcasting in Argentina between the 1920s and 1940s, highlighting its significance as a technological, cultural, and political phenomenon. Far from being merely a new form of entertainment, radio became a dynamic force in shaping national identity, public discourse, and mass consumption. Through an analysis of programming, technological innovation, listening practices, and regulatory frameworks, the article traces how Argentine radio developed as a hybrid model, combining private entrepreneurship with increasing state intervention. Special attention is given to the role of print media in shaping the figure of the radio listener, the commercial expansion of receiver devices, and the influence of global broadcasting models. By situating Argentina within a broader transnational context, the study contributes to a deeper understanding of the cultural and political implications of early radio in Latin America.

This article examines a largely unexplored dimension of 1960s transnational popular cinema through the case study of Digan lo que digan (Mario Camus, 1968), a Spanish–Argentine co-production starring singer Raphael. By analyzing this film, the study seeks to shed light on the industrial, aesthetic, and cultural transformations of commercial cinema within the triangulated relations among Argentina, Spain, and Italy. It argues that film industries in these countries developed strategies of convergence with the recording and television industries, organized around international song festivals such as Sanremo and Eurovision. These events functioned as platforms for the circulation of cultural products, the construction of transnational stardom, and the promotion of shared imaginaries. The research demonstrates how these productions operated as instruments of cultural diplomacy and as vectors for identity construction within the framework of the peripheral modernization processes of the 1960s.