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

The state of the art of the film industry in Spain in its specific areas of production, distribution and exhibition is presented in detail. The author develops in detail the situation of cinema in Spain, followed by the situation of television in its aspect closely related to cinema. This is followed by interviews with some of the most representative protagonists of the film industry, in the form of producers, distributors and exhibitors. The work then refers to numerous references published onthe CineyTele.com portal on pandemics and post-pandemics both in Spain and Latin America as a whole, and ends with a basic bibliography on the subject developed.

Sin duda alguna, hay un antes y un después de la pandemia por el Covid-19. La Humanidad ha experimentado numerosos cambios que han afectado todos los ámbitos: sociales, culturales, económicos, políticos, educativos, etc. transformando prácticamente el mundo, la forma de mirarlo y la vida en él. Esta transmutación ha ingresado en el devenir del crecimiento de la ciencia, de la docencia y de la investigación, en suma, una de las consecuencias más palpables de este proceso ha sido el uso de las herramientas informáticas para acercar los conocimientos a los estudiantes en formación y a los investigadores. Nuestra revista ha hecho eco de esta tendencia, al igual que otras publicaciones de carácter periódico, y dedicó uno de los números anteriores a mostrar los aspectos teóricos de tales recursos didácticos y sus aplicaciones en el campo de las disciplinas comunicativas. Una de estas disciplinas, el cine (y productos audiovisuales emergentes) ha sido el propósito de la presente entrega, concretamente la industria cinematográfica en tiempos de pandemia y de pospandemia, en la que al parecer se impone el aprovechamiento de las nuevas experiencias ahora que la luz comienza poco a poco a recuperar y propiciar la antigua normalidad.

This paper proposes a series of reflections on cinema and how it was reconfigured during the Covid-19 pandemic in our country. Cinema, as an industry, brings together several spheres, among the most important of which are production, distribution and exhibition. In the latter, audiences play an important role. Since cinema first appeared, it has never ceased to amaze us with the different social functions it has fulfilled for audiences. However, with the arrival of the coronavirus, during the confinement, other functions seemed to reveal themselves, in this text we propose some of them, in the interest of helping to think about cinema as a dynamic, vigorous communication phenomenon in the context of the pandemic and in the face of the so-called new normality.

Despite the complications that the Covid-19 pandemic implied for the global film industry, Mexican cinema has continued with a relevant level of production, as well as some of its own evolutions. In production, the increasing participation of women in the main roles, such as directing, stands out. On the other hand, a thematic line that has stood out is the disappearance of women in Mexico due to drug trafficking. This paper analyzes three Mexican films on this theme, directed by and starring women and released or produced once the pandemic had begun, with the aim of studying the representation of violence in contemporary Mexican cinema made by women. It is shown that filmic violence is not used as a spectacle but as a means of denunciation, for which it does not need to be explicit.

The present research starts from the premise that cinema is a source of great interest for the analysis of the image of the psychology professional over time. The way in which cinema has represented the psychologist is, consequently, of enormous importance as a generator and transmitter of filmic stereotypes. Two are, therefore, the objectives pursued: to analyze the representation of the psychologist in the cinema from 1930 to the present and to establish, based on the above, the basic stereotypes of the psychologist in the cinema that have actively intervened in the construction of models of representation of our discipline. For this purpose, a qualitative methodology of thematic analysis has been followed, selecting a representative sample and describing and analyzing thematic aspects such as the scenario, the evolution of the psychological schools represented, the staged techniques, the psychological branches present, or the social image that emerges from all this through a categorization of the filmic stereotyping. The results show an increasing evolution over the time studied of the number of valid films, their relationship with certain film genres (horror, crime and forensic), the extraordinary link between filmic stereotyping and clinical psychology, the constant ambiguity with other disciplines which shows the difficulties of the scientific autonomy of psychology, or the concordance of our results with the studies of Sneider and Gabbard with a preference for the “Wonderful” type of stereotyping. In short, it is considered that the cinema, until a few years ago, has been making a stereotype of the psychology professional that has distorted our professional performance. This implies a necessary effort in our profession for scientific communication.

The Covid-19 pandemic has triggered significant transformations in the processes of production, exchange and consumption of media content, driven by the desire of contemporary networked society to communicate, inform and entertain in the midst of a turbulent health and humanitarian moment. In this scenario, YouTube has become the preferred vehicle for video dissemination and consumption. Among the aesthetics available on this platform, this exploratory study focuses its reflections on pandemic productions that relied on 360-degree technology, an emerging image modality. Guided by a methodological path formed by a bibliographic review and netnography, the research covered a survey of 400 spherical videos, which were analysed through cartographic, technical and thematic particularities. For this purpose, expressions in Portuguese and Spanish related to 360-degree videos and Covid-19 were entered into the YouTube search system. The results provided an overview of how the pandemic phenomenon influenced the creative sector of 360-degree narratives, highlighting, for example, Brazil as the country with the highest number of published works, the virtual tour as the most explored format and the prominence of companies and professionals specialised in content creation, while press vehicles appeared timidly.

It is proposed a reflection on the concept of culture in the field of social sciences, which allows us to understand the relevance of cultural industries in the production and reproduction of symbolic systems in contemporary societies. Understanding the meaning of the concept of culture allows us to understand the preeminence that the usual production of the mass media has in the formation and socialization of individuals in contemporary societies. It is the socio-historical conditioning factors and the economic and industrial nature of the various cultural industries that allow us both to fruitfully relate the mass media to each other and to other forms of mass entertainment, and to establish the specificities of each one. All of them are characterized by the industrial and standardized production of messages; they are cultural industries. Following some clues provided by Albert Breton, Augustin Girard, Armand Matellart and Enrique Bustamante, we will try to understand how cultural industries work and how they are organized; and what are the different modes of production of cultural goods. We will explain the organization and functioning of cultural industries and their various facets: socio-political, cultural and economic. From the last facet, we will approach the study of the three sectors of the film industry-production, distribution and exhibition-, the specific way in which filmmaking is organized. In the end, all these elements will allow us to propose a model for the study of the production, distribution and exhibition systems in the Mexican film industry.

The representation of old age in Mexican cinema is the starting point for analyzing the false stereotypes that are currently held about the elderly. The respect that different cultures used to give to the elderly has been lost and nowadays they are considered a work nuisance or a burden for their families, ignoring and discriminating against them. This research compares the films Por si no te vuelvo a ver (Juan Pablo Villaseñor, 1997) and En el último trago (Jack Zagha Kababie, 2015) in which a different look is proposed, where the protagonists find the necessary motivation to fulfill a goal and face challenges and problems to achieve it. Thus they achieve a transformation in which they can enjoy their old age and live it to the fullest.

This article makes a qualitative approach to the audiences of university women of cinema in digital platforms in the city of Aguascalientes. Its main purpose is to recover their appropriation of visual narratives, as well as to inquire about their perception of the current panorama of media coloniality and data colonization. This study inquires about stereotypes, roles and aspirational models of gender represented in the film material, as well as the opening to a new political positioning as spectators and users of other forms of exhibition to theatrical projection.

The emergence of Covid-19 imposed a global challenge on the dynamics of human life. The local work of the Seventh Art would suffer the same fate as the great monopolies of audiovisual entertainment, experiencing new challenges in the modes of production. In this sense, filmmaking in Cuba was not exempt from reinventing itself in its routines with the particularities of the context. In addition to the material shortages involved in maintaining production in an underdeveloped country, there was the crisis caused by the coronavirus. On the other hand, the closure of the few cinemas in operation would motivate the use of methods of dissemination that were already being used with the changes in consumer habits. From then on, social networks would serve as an intermediary between the public and the audiovisual. In view of the above, this essay aims to analyse the panorama of the film industry on the island during the pandemic, with the objective of addressing the context and development experienced by Cuban cinema.