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

The communicative effect of editing is often associated with technical factors, the precision of cuts and the connections by which the director of a film ordered a chain of elements with the aim to give voice to a certain discourse. However, its effectiveness is based upon perceptual keys which are meant to catch the attention of the viewer and which facilitate the recognition and interpretation of some relevant audiovisual features. This article reflects on the elements that compose this relationship and on their potential to improve the expressive capacities of the filmic discourses. It proposes a cinematographic processing model, based upon the configuration of physical attributes and on the significant hegemony of the communicative fusion of image and sound.

Because of the advance of new technologies and the development of digitalization, television has turned on one more screen into an environment "multiscreen". Issuers and advertisers are looking for new strategies to their formats, since new generations spend a great percentage of their time in front of Internet, presenting new habits and a more active position, deciding what they want to see, when and how. The principal goal of this research is to analyze the implementations of television contents across the pilot experience of the Web 3.0 of Antena 3 and the fiction El internado, contributing the new directives that are arising around the new windows for television contents, and how the youngest sectors are able to take advantage of the network to announce their own statements.

Wenceslao Fernández Flórez continues to be the most adapted Spanish author in film history. The most representative corpus of Fernández Flórez’s literary work focuses on the 1920s period, during Primo de Rivera dictatorship, although it is during the 1940s when the cinematographic art payed most attention to his novels. Thus, a key question emerges: Why should a work written two decades before find its visual version in the early post-war years? The characters marked by what we have defined as "the defeated’s conscience" are the element functioning as a link between Fernández Flórez’s narrative and the postwar cinema.

In this paper we perform a comparison between two cultural products, comics and video games. First we make a contextualization of these two media in the cultural industries, where we discusses the position of each and their interrelationships. Then we try to show the connections established between these media by means an emerging taxonomy and we describe some cases in which the transfer is explicit. Finally we consider the role of productive agents in these industries.

Vicente Rojo played a very relevant role very in different phases of the Spanish Civil war. This catholic and conservative professional officer was loyal to the Republic. At the beginning of the conflict, he was a commander, but eventually he would be appointed Chief of the Central Staff of the Popular Army of the Republic. In this work I analyze character of Vicente Rojo in two paradigmatic movies produced by the winners of the Spanish Civil War: "Sin novedad en el Alcázar” and two versions of “Raza” ("Raza" y “Espíritu de una Raza”). The first movie explains the resistance of the rebels in the Alcázar de Toledo. One of the most enigmatic events of this episode happened when commander Vicente Rojo visited the Alcázar. He tried to convince rebels that they should surrender. This episode appears in “Sin novedad en el Alcázar”. On the other side, both versions of "Raza" were based on a novel written by the general Franco. In this movie, the general Vicente Rojo appears as Chief of Central Staff of the republican army in two briefs scenes. Both movies were produced soon after finishing the Civil war in the context of so called "cinema of crusade ". However, in both movies, the character of Vicente Rojo is introduced respectfully.

Products such as alcoholic drinks, medicines, tobacco and fast food have found a way to spread their advertisement through Internet. They have used interactivity, viral marketing, social networks and blogs. This article is about the difficulties to establish advertising regulations for previous products over an international environment as Internet. By means of advertising legislation analysis, we have studied the risks of applying a external strict policy, and on the contrary the justifications in favour of an internal regulation. Finally, we focus on a future advertising regulation compatible with freedom of speech and trading.

New technologies and their adaptation to advertising media are stirring a revolution in the creative use of the media, and out-of-home advertising is no exception in this new field. However, the rules and standards regarding the use of this medium cannot be neglected if formats full of scarcely effective and shocking advertisements are to be avoided. In these cases, the amount of text prevents the public from reading and understanding the message, and even the use of colours and typographies are of no help at all to create an impact in a medium which is capable of achieving a higher degree of publicity for its brands than any others, such as television. After an initial analysis of the theoretical framework that deals with how creativity should be in the out-of-home medium, this study sets out to analyse the way creatives in agencies, who are those who apply theories in the end, face out-of-home advertising.

The analysis of the individual-landscape interaction presents different perspectives of study related to the generation and interpretation of symbolisms and imaginary. The significant capability and/or of communicative evocation of the landscape finds, in the intrapersonal communication, a relevant argumentation in the process of construction of a theoretical device. This question allows to study the process of appropriation and experience of the landscape in terms of communicative action. The development of a theoretical device that allows to interpret the message of the landscape as well as to decode its intangible speech, represents the main aim of the research that appears next.

Our main objective is the proposal of a new interpretation of the film Heartbeat detector (La question humaine, 2007) based in two of the most important elements of the movie: the challenging assumed about the audiovisual representation of the relation identity/memory, and the possible link between the holocaust and the new skill-building techniques in the capitalism system. We are going to make a textual microanalyse based in different scenes of the movie, the ones who face the problems of the collective memory and the individual souls of the men who live after the break-up of the the symbolic conception of life.

This article pretend to demonstrate, that Spanish exhibition is still a sector enough atomize in order to not exist –so far- a clear oligopolistic position –as it does happens in other countries within the EU, where roughly three or four cinema exhibitors control a substantial part of the market. The power that several regional exhibitors hold in some communities, have brought about maintenance of that diversity at national levels. Nonetheless, at local and even region levels, the measure of these concentration levels, denotes that it is existing a non-perfect competition, since many small and mid size Spanish regions are solely controlled by just one or two business exhibitors, surpassing the threshold establish by the “competition authorities”.