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

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Woody Allen's cinema has always had a particular predilection for the ritual of the movie theater and how filmgoers appreciate and feel the films they watch. Woody Allen himself is a spectator of the works of other artists, who often shows true devotion for them. However, from his point of view as a creator, throughout his work, he sets his characters as spectators in cinemas, museums, and theaters, as well as readers of masterpieces of world literature. Thus, it is glimpsed how non-artist characters make use of manifestations such as cinema, music, and radio, by being mere spectators who consume art as an escape, even in some cases, preferring it over life. Through an analysis focused on the characters of Stardust Memories (Allen, 1980), The Purple Rose of Cairo (Allen, 1985), and Radio Days (Allen, 1987), diverse types of spectators will be contemplated within the work of the New York director: these combine the different gazes that are facing a movie screen, the work that is enjoyed, and the artist who creates it. In an era, the current one, in which the movie theater is losing its aura in favor of more homemade options, it is interesting to observe how, between bitterness and nostalgia, several fictional spectators’ gazes are reflected.

Narrative patterns are formulas with which a plot is molded to generate an emotional response in the viewer. In the present work, two well-defined patterns that have been found in certain film and television structures are studied, so the objective of this article is to highlight their characteristics, their effects and the advantages of their use. For this, a qualitative analysis is used that, through a critical-reflective methodology, allows a thorough study of this phenomenon; Likewise, the study design is centered on two pairs of examples ordered according to each investigated narrative pattern and according to a matrix of axes that makes both the selected films and series comparable. Among the main contributions made in this work are the intention to improve the understanding of narrative structures, the academic promotion for the elaboration of better quality audiovisual products and the inclusion of narrative proposals that often go unnoticed, especially those that they constitute literary antecedents. It is concluded that the narrative patterns are formulas that fulfill an emotional function based on the alternation of fortunate and unfortunate events in the plot that occur to the characters; It is also inferred that empathy, emotional attachment and changing expectations are mobile generated by narrative patterns that attract the attention of the viewer and hook him to the plot.

The lazaret of Oza was a maritime hospital complex erected in the old castle of Oza, located in a privileged situation in the bay of A Coruña (Galicia, Spain). Being active between 1889 and 1903, its function was destined to the observation and treatment of the people and merchandise that arrived at the Herculine being suspicious or being infected mainly by Asian disease cholera, yellow fever or Levantine plague. However, its construction was conditioned by the impact of the social, political and economic transformations experienced by the A Coruña population due to the interoceanic epidemics. Although there are some publications that focused on the sanitary, economic and administrative history of this now-defunct lazaretto, this article pays attention for the first time to the memory of its disappeared architecture, thus serving as a paradigmatic case study for the history of hospital architecture. It is necessary for this line of research is due to the lack of knowledge of the physiognomy and architectural organization that it possessed, due to some of its preserved plans are shown as unpublished documents along with other graphic documentation.

The aim of this paper is to propose an approach to title sequence or opening sequence as short audiovisual stories based on the concept of fractal. The consideration of the narrative dimension of the title sequences and their study as narrative pieces themshelves comes from the theoretical and methodological advances that have taken place in the field of the short short stories in the last years, due to the fact that their compositional coordinates and reception processes are also recognizable in the audiovisual mini-fiction. Beyond its artistic approach, these paratexts can be considered a short short story that are projected in a large narration. The relationship between both discourses becomes dialogical thanks to the decoding strategies that the viewer deploys during the reception. In some cases, these strategies are determined by the relationship of the filmic narrative discourse and a historical episode that influences reception in phenomenological terms. To show this hypothesis, firstly, it will be delimited what is an audiovisual short short story, what are their characteristics and how it works in relation with the principal narration. Secondly, it will be approached the comparative analysis of the title sequences of The vikings (Richard Fleischer, 1958) and Vikings (Michael Hirst, 2013) because both are examples of short short stories that announce and enunciate a wider filmic universe with historical theme and fictional form.

En este artículo presentamos la importancia del desarrollo para disminuir los factores predisponentes de la conducta criminal y prevenir la criminalidad. El tema se apega al sentido de la democracia en tanto una sociedad con menos desigualdad y más libertad posible. El objetivo es mostrar cómo se da la conducta criminal y qué peso tienen los factores externos y las circunstancias a priori de cada sujeto. Ya que el desarrollo humano busca cambiar las condiciones de existencia y las posibilidades de autorrealización de los miembros de la sociedad, se pretende colocarlo como un ejercicio de prevención. La hipótesis considera que si analizamos las condiciones sociales sobre las cuales se desarrollan los individuos, entonces es posible cambiar el foco de la cuestión para disminuir la delincuencia.

El presente trabajo desarrolla una perspectiva sobre la construcción de la democracia en México, la cual, durante los últimos treinta años, formó un sistema electoral funcional que no está exento de ser transgredido por la clase política, propiciando así que la sociedad desconfíe y eso repercuta en la credibilidad de dicho sistema. Este factor de desconfianza responde a la existencia de costumbres acendradas en nuestra cultura política que a lo largo de la historia han prevalecido sobre el marco legal, ante el hecho de priorizar el statu quo del sistema de dominación. Por lo tanto, a partir del análisis de estos elementos se dará a conocer la importancia de construir ciudadanía con valores de cultura democrática que responda a la complejidad jurídica y organizacional del sistema electoral.