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

The work of the Japanese photographer Tatsuya Tanaka (1981) has recently attracted a great deal of interest. His discourse is based on the visual metaphor (from which so many photographers have drawn throughout history since the beginnings of photography, and especially in the avant-garde) but, unlike the latter, he confines it to a distinctly Japanese cultural environment: with miniatures that populate his images, linking his work to Japanese artisanal mythology, and to the dioramas formulated by Daguerre, which reconstructed suggestive scenes of everyday life. We will study four pieces with a methodology consisting of photographic analysis and an exclusive interview granted to us by the author himself. Our conclusions are that his proposal is radically referential, that it connects with the most atavistic Japanese artistic tradition but that, nevertheless, it is profoundly generational and designed for an audience that follows social media, especially instagram, where Tatsuya Tanaka has accumulated more than 4 million followers with only three published books.

Spanish film comedies feature a stylized version of an archetypical figure of Spain’s theatrical tradition: the one coming from the “comic relief” character called gracioso or donaire, who since the Golden Age transits along the Spanish theatrical scene from the genres of sainete to the esperpento. The gracioso is traditionally a male and popular character in a secondary role, loaded with practicality, who elevates (by contrast) the noble qualities of the leading man and is responsible for punctuating the narrative by creating comic situations that generate a special relationship with the audience. In this article, we analyze the feminine variation of the type of the gracioso, which, we argue, was embodied in the actresses Gracita Morales and Lina Morgan in the popular film comedies of the late Francoist era. Our ultimate goal is to suggest some of the peculiarities of the modes of representation of Spanish cinema through the typology and cultural affiliation of its characters and the theoretical status of its actors.

This paper analyzes the life and work of the composer, performer, teacher, editor and arranger Clara Wieck-Shumann in cinema through four biographic films. The aim is as well to quantify the presence or absence in the filmic account of the professional activities in the field of music that the historical evidence attributes to her as well as possible historical distortions in their representation. For this purpose, the compositional corpus offered by the films is compared with the one attributed by historiography and primary sources to Clara Wieck as well as the one referred to Robert Schumann and Johannes Brahms. Through a critical analysis of the film text, the representation of the female model from the perspective of gender studies and feminist musicology is addressed. It confirms the lack of visibility of Clara Wieck-Shumann's professional facets except the one as a performer and the insistence on a model of a woman devoted to her husband's happiness. Finally, this study adds new data to the catalogue of Clara Wieck's work in cinema as a new proposal.Estudios de género

Luis García Berlanga discovered in the sequence shot technique an ideal instrument to narrate his stories through the continuous movement of the camera, the massive choreography of the actors and the mise en scène in terms of depth. In the Valencian filmmaker's work, long takes serve to offer a particular vision of the comedy genre, introducing a series of internal editing resources which, as well as allowing him to develop his particular sense of humour on screen, enable the author to carry out a critical analysis of human existence and of cinema itself, by opting for certain audiovisual production decisions such as the predominance of extended duration shots, wide and dynamic framing, simultaneous and overlapping dialogues, strong compositional contrasts within the image or accelerated rhythms of the dramatic action, among other aesthetic and narrative solutions. The Berlin sequence shot is thus a privileged means of stylising reality, abstracting the everyday, eternalising the present, the precise comic vehicle to make us laugh and think.

This work analyzes the presence of the astracán and the grotesque in Pedro Almodóvar's cinema, specifically, not only in those films classified as comedies —Pepi, Luci, Bom and other girls like Mom (1980), Women on the verge of a nervous breakdown (1988) and I’m so excited! (2013)—, but also in those comical situations that the author introduces in the most melodramatic plots when he inserts eccentric characters or ludicrous dialogues. It is a question, then, of verifying to what extent the Almodovarian aesthetic, which is situated in a specific current (postmodern cinema), has its origin in aesthetic forms of the Spanish literary tradition and allows him to develop models of artistic expression which are cut off from reality and in which he identifies cinema with representation to thus reinforce the pact of fiction with the viewer.

The study analyzes the cinematographic stylistic model of Antonio de Lara, "Tono", considering the national, international, and personal elements that make it up, over five decades (1930-1978). The objectives are to determine his specific contribution to Spanish cinema, to recompose the transversal imprint of his work in the national cinematographic comedy and to reflect on his influence on subsequent filmmakers. To do this, a conceptual and aesthetic review of the elements that build his creative profile is carried out, and a hermeneutics of his filmography applying the analytical and historical method, with a semiotic base developed by Professor Zunzunegui (2018). This allows us to unravel the features of Tono's authorial style, characterized by the constant rupture of linguistic forms and the emptying of discourse through language itself until it reaches the absurd, thus dynamiting his fictions from within them.

This paper is a theoretical exploration of the application of the advertising placement tool in Pixar's animated films. Specifically, it is analyzed in the presence of real brands and fictitious brands in different films of the film company and their importance in the story. In an overall reading, the work carried out with the Vespa brand for the film Luca (Casarosa, 2021) stands out with special attention. It is an unprecedented case in the company's history and is paradigmatic for its storydoing. To carry out this study, an exploratory-descriptive methodology has been applied where the issue is deepened using audiovisual measurement and narratology tools. As a result, we obtain a qualitative study that reflects the importance of the use of commercial communication as a technique to design and communicate unique and interpretable stories by the contemporary viewer.  

El monográfico de la revista Fotocinema que presentamos cobra todo su sentido al plantearse como una oportunidad de revisitar, en concreto, la cultura cómica popular española, que es actualizada y renovada en el cine español de todos los tiempos, sin dejar de lado los movimientos internacionales que pudieran terciar en el mestizaje final de las obras a estudio. Haciendo uso del análisis textual y de la indagación histórica y teórica, los artículos que forman parte del monográfico abordan la obra de directores como Luis García Berlanga, Fernando Fernán Gómez, Manuel Summers, Pedro Almodóvar, Fernando León de Aranoa, Pablo Berger o Ángeles Reiné; sin dejar de lado el papel de relevantes escritores fundamentales en el cine español, como Miguel Mihura, Antonio de Lara (Tono) y Rafael Azcona; así como de actrices imprescindibles en la comedia desarrollista, como Gracita Morales y Lina Morgan.

The generalization of digitization in the cinematographic field has changed not only the form of our access to the cinema but also our relationship with it, its social and cultural significance and the habits in which we consume it. The changes are so strong, radical and permanent that they imply a transformation in itself of the cinematographic fact, in such a way that we can ask ourselves, today more than ever, if we can really continue using the concept of “cinema” in the same way that we have used it all over the world the history of cinema, throughout the 20th century and until the widespread implantation of the so-called digital age. And if it’s not really the same art anymore (or the same industry), how should we refer to it? How can we re-think its meaning, its consumption, its social, cultural and artistic sphere? How is our relationship with this new digital medium? Is there anything salvageable from the old consensus about cinema and its spectator act? About its consumption and its industrial organization?

The pandemic and the global health crisis caused by COVID-19 have highlighted the importance of effective investment in the public health system in the different regions of the world. However, this investment must be perceived as useful and effective by citizens, so it is crucial to know and study the level of satisfaction with health care. Therefore, the aim of this work is to study which individual characteristics, as well as those of the National Health System itself, are most relevant in the perception of satisfaction experienced by the individual. Specifically, we analyze attributes related to the health system in general and to primary care in particular, given that the latter is the first line of the system and the one most used by the population. A multinomial logit model is estimated, using microdata from the Health Barometer of the Sociological Research Center for the year 2019. Among the main results is that young women with higher education who reside in medium and small municipalities are more likely to be dissatisfied with the functioning of the public system. On the other hand, self-perceived health status is also significant. In terms of the attributes of primary care, the time and attention provided during the consultation, as well as the security conveyed by the health personnel, contribute significantly to a better perception of the National Health System as a whole. The conclusions drawn suggest that the inequities generated by differences in investment may be key to generating higher or lower levels of satisfaction, although other individual and National Health System characteristics are useful for implementing health policies aimed at improving levels of citizen satisfaction.