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

The objective of this paper is to generate a conceptual model for the analysis and evaluation of the ICT adoption process in Argentinean SMEs. This model considers four environments and their associated factors. This conceptual model will be applied to a future field work, in order to carry out a process of calibration and proposal of a new version of the model presented. The biggest difference with previous models has to do with an updated vision of business models and markets, mainly a product of the evolution of connectivity.

El extraño viaje (1964) by Fernando Fernán-Gómez is an exceptional example within that fertile current of Spanish cinema that prolongs a cultural tradition that is deeply rooted among us, for which esperpento and black humor are key notions. But besides being a very worthy heir to that grotesque side of Spanish popular culture cultivated, among others, by authors like Quevedo, Arniches and Valle-Inclán or painters like Goya and Solana, Fernán-Gómez's film is also a work crossed by foreign influences, Alfred Hitchcock's cinema being one of the most productive. In order to clarify to what extent El extraño viaje prolongs this tradition of the grotesque esperpento while at the same time allowing itself to be contaminated by contemporary cinema from abroad, this article analyzes the film in detail in the light of a series of notions coined by Mijail Bakhtin (dialogism, chronotope, carnivalesque, refiguration or ambivalent laughter) and the ideas of other authors who have reflected on the special predilection of the Spanish people for a certain type of humor, such as Camilo José Cela, Charles Baudelaire or Valle-Inclán himself

The aim of this paper is to demonstrate that the film Blancanieves (Pablo Berger, 2012) embodies the main facets of cinematographic Spanishness. For that purpose, the article traces and points out throughout the film the presence of the four creative or artistic veins inherited from popular culture, in which, according to Santos Zunzunegui, Spanish cinema has expressed itself from its beginnings to the present day: traditionalist popularism, grotesque deformation, myth and avant-garde extraterritoriality. The film is the result of a miscegenation process that combines these expression forms, typical of Spanish cinema, with references to other international titles and aesthetic trends in a complex exercise of intertextuality. But Berger goes even further and assumes the role of film historian since the narrative and formal development of Blancanieves proposes a diachronic journey through the historical evolution of Spanish cinema, which is revealed both in the story and in the mise-en-scène of the protagonist's itinerary.

The purpose of this article is to trace to what extent the humour and imaginary of Miguel Mihura and, more specifically, of his play Tres sombreros de copa (1932), may have been present in the conception of one of the most relevant sequences of the film El verdugo (1963), directed by Luis García Berlanga and scripted by Rafael Azcona. We are referring to the sequence in which which the protagonist is dragged away by the authorities to execute the condemned man. In the middle of the last century, many comical authors from different disciplines collaborated in joint creations. The playwright himself was one of the scriptwriters of Bienvenido Mr. Marshall (1953), also directed by the Valencian filmmaker. In this research we try to establish a comparative analysis between the end of the play and the aforementioned sequence, studying the relevance of the humour of the magazine La Codorniz, the comic-grotesque resources and the symbolic elements used, especially the fallen hat, which acts as a nexus and visual link between the two works.

Since the end of the last century, a new historiography, whose methodology is based on film analysis, has revisited Republican Spanish cinema and that of the first post-war decades. This trend constitutes the best starting point to rigorously delve into the deep parallels and intersections of the trajectories of two of the most relevant masters of Hispanic cinema: Luis García Berlanga and Fernando Fernán Gómez. According to that, this article analyzes the determined but difficult career path undertaken by both authors from the sainete (starting from the comic "slightly curved mirror" by Wenceslao Fernández Flórez) to the grotesque (with the extreme concavity of the vallenclanesco Callejón del Gato in their great films of early 1960s). In this trajectory, the literary works of Carlos Arniches and the aforementioned Fernández Flórez will constitute some of the pillars on which a fertile Hispanic and everyday realism will be built; a comic, dark and truthful realism about the miserability of the life of the por Spanish people, bringing to light the scourges and secular backwardness of our country.  

The two films starring the musical group Hombres G in the eighties were very little recognized by critics at the time. These fictions were caught between the works associated with the movida and a cinema made under the auspices of the subsidy system of the time, which has occupied much space in the imaginary of critics and academics. But the films of the Hombres G ¡Sufre, mamón! (Manuel Summers, 1987) y Suéltate el pelo (Manuel Summers, 1988)  were an undisputed public success. The purpose of the article is to analyze how these two tapes built, through thick humour and the use of parody, satire, intertextuality and even self-mutilation, a deformed portrait of the time, which in no way can be branded as depoliticized. We will study how these two films exceeded their role as commercial vehicles at the service of a musical group to end up offering irreverent entertainment that mocked both their elders and the institutions controlled by them, as well as their contemporaries, young people completely invested in a consumer culture that greatly marked that time.

Dialogue with the famous cinematographer José Luis Alcaine, one of the most awarded and respected professionals in Spanish cinematography. Professionally trained at the Escuela Oficial de Cinematografía, he began his prolific career at the end of the 1960s, becoming from that moment onwards responsible for the photography of a large number of key works in the history of Spanish cinema. In his more than one hundred and fifty films he has worked under the orders of such famous directors as Vicente Aranda, Víctor Erice, Carlos Saura, Pilar Miró, Manuel Gutiérrez Aragón, Bigas Luna, Fernando Trueba and Pedro Almodóvar, among many others. In addition to his spectacular professional career in the film industry, Alcaine is considered one of the greatest connoisseurs of this artistic discipline due to his extensive and rigorous study of light over decades, both in the field of cinema and in painting. An exciting journey through this profession, cinematography, one of the most complex and captivating cinematographic arts, through the opinions and experiences of one of its main artists.

Aware that throughout the historiography of Spanish cinema, lesbianism as a taboo and as an intimate position has gone from horror and eroticism to drama and, to a much lesser extent, to comedy, in this article we study the case of Salir del ropero, directed and written by Ángeles Reiné (2019). The film, which belongs to the romantic comedy genre, takes over from A mi madre le gustan las mujeres (Inés París and Daniela Féjerman, 2001) in its attempts to write about lesbian love and its consent in the family and social framework. Without ignoring the claims of cultural studies, here we will vindicate the importance of textual analysis to elucidate how the enunciation constructs its characters and how the mise-en-forme devises comic strategies for the gag to show and question the religious and social taboos and, above all, the ideological corsets of the younger generation on homosexuality and the advanced age of women. 

El buen patrón es la obra ganadora del Goya a Mejor Película del 2021. Dirigida por Fernándo León de Aranoa y protagonizada por Javier Bardem, la película se desarrolla a lo largo de una semana en el seno de una fábrica ubicada en una ciudad de provincias española. Con una metodología hermenéutica basada en el análisis del relato y de los personajes, el presente artículo tiene por objeto desentrañar los mecanismos narrativos que hacen que El buen patrón pueda interpretarse debido a su formulación de la comedia como un film berlanguiano ambientado en la realidad sociolaboral española contemporánea.  Más allá de esto, el texto desarrolla como la película de Aranoa presenta una configuración de humor negro basándose en las distintas alteridades del prototipo de hombre blanco heterosexual de clase media.

Roma ciudad abierta no solo es considerada una película que retrata la resistencia italiana y que promueve la propaganda antifascista, sino que, además, representa un ejemplo del estilo rosselliniano, de su forma de captar la realidad en su crudeza. Una realidad marcada por hombres y mujeres que sufren, que luchan contra las adversidades y que anhelan un futuro diferente. Sin caer en el pesimismo ni en la desilusión, Rossellini presenta la tragedia que Italia estaba viviendo en los años finales de la Segunda Guerra Mundial. El objetivo de la presente investigación es reflexionar sobre la importancia de la película, destacando cómo, a través de una obra atemporal, el cineasta crea una obra maestra para que los trágicos acontecimientos de la época no caigan en el olvido. Tras un atento analisis de la película, se pondrá el acento en la forma de representar el miedo y la muerte que impregnaban la sociedad romana, entre realismo y simbolismo. La película creó escuela, siendo pionera en la idea de fomentar una conciencia crítica sobre acontecimientos histórico-sociales cercanos en el tiempo.