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

It is left to imagine the silence of the elements is a creative work of writing and drawing that explores the affective relationships and relations of production in connection with mining and extractivism in Ecuador in different places of conversation and production of knowledge. From narrative, poetry and essay, it proposes a reading of documents and family memory in conversation with the non-human elements present in the articulation of human relationships.

We tend to perceive Earth as the setting where life occurs, especially with human life as the main character of the story. Nevertheless, Earth’s geological formations contain the script of another story, where ours is just a fleeting moment. From Guanajuato, Mexico, we collect narratives of the mineral, its signs, its treasures, and its voices.

Offering was a ritual and site-specific piece involving a collective gathering of plants, the construction of two sculptural bowls and their offering into the Nahuel Huapi. Through memories, theoretical concepts and speculations, this essay looks into notions of coexistence, care and corporeality around this artwork. Tied to my experience of caring for my grandmother during her last months of life, it is a reflection on life and death processes as well as an offering for her and for the earth.

Here we take up a pedagogical experience developed in 2019 in a teacher training institution in the city of Rosario, within the framework of the Bilingual Intercultural Teachers Professionalization Program of the Ministry of Education of Santa Fe. The students of the program make up the “qom community” local. Some are incorporated into the Santa Fe public education system under the figure of "suitable teachers" and others maintain an irregular link with that system. The experience unfolded in a workshop called "Ritual Theater and Dance" in the provincial design. The courtly proposal was to go through aesthetic-expressive cultural practices linked to the baggage of –and to the historical and conflictive interactions between–, indigenous, Afro-descendant and European peoples in America. We decided to name such an event as a performative experience of interculturalization in order to problematize emerging events that took place at the level of practices and relationships in the classroom and refer to two dimensions: exchanges with students who expose certain assessments of Afro-descendants and blackness in our context and; to the relevance of a pedagogical strategy that proposes a performative approach to social issues. Our interest is to examine how much it allows (or not) to establish new connections between the aesthetic and the ethical/political.

This paper deals with the articulation between study plans and sexual differences under a gender approach in the historical context of Argentine educational policy. Considering a long-term time range that goes from the sanction of Law N.° 1420 of Common Education in 1884, until the year 2006 with the enactment of Law N.° 26206 of National Education (LEN); This work covers what is conceived as sexuality in the study plans and how what has been expected for each person based on their sexuality and gender is expressed in educational policies. The analysis carried out has been structured in two sections. The first presents a periodization articulated in four instances called: sexed sexuality (1884-1945), sexuality as equality (1945-1955), repressed sexuality (1955-1994) and sexuality as a right (2000-2007). It is concerns an axis that explains the central characteristics of each stage in light of sexual and gender differences in the study plans, in an exercise that connects the denomination of each instance, with significant issues of the four moments addressed. The second section is dedicated to investigating pedagogical discourses and educational policies, through the analysis of curricula in force in each of the four stages mentioned, accounting for continuities and ruptures between them. The study closes with the conclusions, as final reflections on the accomplished journey made.

La invitación a lectura de los 11 artículos y la reseña reunidos en este número, nos parece, mantienen alguna afinidad con lo que John Berger señala en sus Confabulaciones, «la escritura es apenas una parte de algo más profundo y más amplio: nuestra relación con el lenguaje…» (2017-2018, p. 7). Investigaciones, ensayos, memorias y experiencias educativas, pedagógicas, didácticas, culturales, históricas, invitan a la lectura para acercarnos a las cuestiones, problemáticas, relaciones… que circunscriben o focalizan. Un triángulo amoroso que en tanto traducción excede el binarismo habitual y resiste a la desmemoria, en el juego entre lo heredado, interpelado, indagado, vivenciado, para atestiguar las posibilidades abiertas, la potencia de lo posible, las relaciones y experiencias.

The general objective of this research was to identify and analyze the habits, practices, modes of appropriation and consumption rituals of Mexican films of the inhabitants of the Monterrey metropolitan area who remained in seclusion due to the COVID-19 pandemic, in a context of massive closure of movie theaters due to the restrictions caused by the pandemic and, paradoxically, in the face of a growing new golden age for Mexican cinema. This research was conducted with a qualitative approach; it is an exploratory study in which the in-depth interview technique was used. The sample consisted of 43 volunteer subjects, homebound adults, of both sexes and ranging in age from 41 to 86 years old. The results show that the change was more significant among older adults, who mentioned that going to movie theaters meant a lot to them, since, along with attending casinos, they were their only distractions before the pandemic, although they also mentioned that they are now getting used to watching movies on TV via streaming platforms, particularly Netflix, although they feel they have not mastered the technology for their enjoyment. Regarding the consumption of Mexican films, older adults do not like new films very much, they still prefer those of the Golden Age of the last century and, although they mentioned that in those they have seen recently they observe that in some way they represent the reality of our country, they said that because of their subject matter they consider that they are aimed at a younger audience.

This essay will consider two short films by emerging filmmaker Carlos Trujano produced during the pandemic context. They will be highlighted for their dual value as examples of a method of developing film work during the months of confinement and for their narrative force, which involves and develops the potential of the video call as a means of narrative representation, the fictional counterpart of the practical use that this channel of communication has achieved in recent years. Thanks to an audiovisual adaptation of the theoretical framework of the theory of ‘speech acts in literary fiction’, described in some of H. Miller’s works, we will analyse the way in which the two plays Videollamada and Lucía y Luís de Trujano, in collaboration with the company Coteatro de la B.U.A.P., propose two alternative ways of employing the imaginative power of the short film and the medium of the video call, emphasising, in the first case, the imitation of everyday dynamics crudely linked to the collective hysteria related to the Coronavirus and, in the second case, the possibility of constructing a science fiction story of great emotional power around a video call. Two opposite extremes of the meaningful uses of artistic mimesis and the performative act of filmmaking generated with the same technique and with quite similar media will be identified, and these dimensions will also be linked to some considerations on the creative use of remote media.

We present a sample or selection of performances -free or reduced-cost online cinema- originated by the pandemic, declared since March 2020 (now exactly 2 years ago), whose situation as of March 2022 is still, in a way, in force, although much more attenuated: however, some countries have now started the administration of a fourth anti-covid dose. In the field of training and research applied to cinema, film production continues to be based on master classes, conferences, online seminars -webinars- and other online manifestations, although the increasingly widespread and frequent presence is already a fact. Closely related to the Spanish audiovisual industry, fundamentally cinematographic with allusions to the television industry related to cinema, an interview with the editor of Cineinforme (and also Teleinforme) magazines is included, with special reference to its 60 years of history in 2021. And finally, a brief mention to the collaboration at some point established between the aforementioned editor and the author of these pages, completing the contribution with a large repertoire of electronic references highlighted throughout the work.

This text aims to show how the COVID-19 pandemic created new narratives that reflect everyday issues involving the world in one way or another. Furthermore, it shows how different cinematographic resources and emerging narratives allow for the telling of real and emotional stories, with a sarcastic and ironic edge, which help re-evaluate human relationships. The theoretical framework of this article focuses on cinematic narratives, genres, and cinema during the pandemic, and the advent of streaming platforms. This study is carried out through a qualitative methodology based on content analysis of the film Together and the BBC television series Staged. The study found that these two audiovisual products reliably portray what happened during the era of pandemic-driven stay-at-home orders. It also found Zoom to be an innovative resource for narrating these series. This platform became popular for working from home and, in this case, the program uses it intelligently. Finally, by way of conclusion, this article suggests that cinematographic resources, realistic scripts, and the working of narratives give the entertainment industry, particularly cinema and television, opportunities to create new content starting from historical moments.