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

The exposure of organizations on the web 2.0 has resulted in the public or customers being subjected to information over-saturation, which has determined that the entities generate new strategies to capture attention and form a direct relationship with the prosumer. This research uses qualitative and quantitative methodologies to evaluate how the storytelling strategy can influence the sense of belonging of the public to an institution. It is concluded that the strategy allows empowerment with the institution, thus making them speak positively of the organization since the stories appeal to the emotions of the recipients; the narrative, in addition to having an impact, makes the public accept changes in their daily lives.  

Misinformation is a hoax. How can we avoid being another victim? Journalists cannot alone against so much disinformation, every digital user must do their part. The key is to submit each post —before sharing it— to the meticulous gaze of someone looking to hunt down an infidel. In this reflective text, some strategies are divided to verify the originality and transparency of information that circulates on the internet and/or social networks. Here is a guide to be toxic in that search and stop the virality of misinformation.

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Although fake news is outside the limits of freedom of expression, it is imperative to rethink the legal implications in its creation, dissemination and spread. The present investigation aims to resolve the various scopes of fake news, from the perspective of the Mexican legal system. The applied methodology is qualitative with legal and journalistic epistemology. A variety of fake news, current national and international legislation on freedom of expression were analyzed in order to determine if fake news should be regulated.

Dzi Croquettes costumes in the fashion clothing scene, has as its central theme the pieces of clothing worn by dancers and actors of the Dzi Croquettes group, from the 1970s in Brazil, to create the atmosphere that generated the entire discussion of gender through the fusion of men’s and women’s clothing, which mixed delicate fabrics with fur and beards. The concepts of costumes and clothes were revisited to demonstrate how the group moved every day or current fashion pieces to build their costumes. According to Fausto Viana (2017) and Rita Bustamante (2008), costumes are specific garments for representation on stage, creating characters and a text through aesthetics. This thesis, however, is in line with the thinking of semiologist Lucia Santaella (2004; 2008) and fashion researcher Carlos Gardin (2008), who conceive that everyday clothing, or a piece extracted from fashion, also has a language non-verbal, translating an idea for the wearer and the viewer, bringing the costume closer to the clothing. Following this principle, during this article the concepts of clothing and costumes will be used as synonyms to analyze the clothing of the members of the Dzi Croquettes group.

There is already a time when fashion has been rethought in terms of issues of its existential cycle, of a piece, for example. The construction of an identity from DIY fashion resignifies thrift stores as an object of growing consumption in societies, where consumers/ public can express themselves from a unique identity, using a mixture of styles, where the pieces mined in thrift stores take scene in the daily life of his clothing, enabling a culture of “resistance” to the common trend, to the mainstream, that many seek when using second-hand or handmade pieces, thus seeking their own style as a way of differentiating themselves in terms of their visual communication. This text problematizes the construction of an identity from DIY fashion and its relationship with consumption in thrift stores, specifically in Bendita Traça. A bibliographic review was carried out on the subject. It is noticed that thrift stores are attentive to the choices of pieces that are true memorial vestiges, and those who acquire these pieces are even more attentive, as they represent one of the bases of DIY. The work from the researched thrift store Bendita Traça, reveals a connection between the past and the present, through the traces and, in this way, it was possible to reflect on the relationship of the consumer public with this type of establishment, in order to establish a differentiated visual communication.

Visconti’s filmic realism concerns the story of the identity transformations of Italians from the post-war period to the economic boom, and is based on the representation of the psycho-socio-anthropological context in which “models of contemporary women” appear for eroticized traits, and always emblematic of attempts at a female revenge still in germ. In Visconti’s early films this particular aspect therefore takes shape in tones that are only ideally progressive and not concrete, represented in characters played by divas of the time such as Giovanna-Calamai in Ossessione (1943), Maddalena-Magnani in Bellissima (1951) and Pupe-Schneider in Il lavoro (1962). Underlying the expressive potential of these works is the anthropomorphic value of cinema, described in one of his famous essays that seems more like a ‘declaration of intent’, a preamble to his films designed to highlight their capacity, yet to be constructed, to reproduce the value of human authenticity in the acting and in the scene, or from the material aspects of which it is composed. It is precisely the film theory at the basis of his films and the correlated scenic representation, both in the symbolic forms constructed by the director and in the materialistic ones of the set, costumes and scene requirements, that initially assume the traits of neo-realism, or as he specified “human realism”, whose character he will always maintain, even in the films of the second period defined by critics as baroque and decadentist. This change will be determined by the understanding that the economic boom and the correlated advent of a new capitalist society have radically changed the life and culture of Italians, and not always for the better. In order to narrate this change, Visconti will define new forms of “realistically pre-structured” storytelling that show, in the richness of the materiality of environments and costumes, the symbolic aspects of a new human verism degenerated by money and often hidden behind the mask of apparent social growth. Starting from this discourse, the three female characters mentioned above are analysed, with particular attention to Pupe-Schneider, a case study chosen for the particular dramaturgical connotations constructed through the baroque elements of the scene and costumes/dresses of the Chanel brand.  

This article aims to set a dialogue between fashion and cinema through the perspective of two prominent authors in the Brazilian academic field, the critics Gilda de Mello e Souza and Paulo Emílio Salles Gomes. Even though they retain their epistemological specializations, Gilda with the study of fashion and Paulo Emílio with the film critique, it appears that neither Gilda nor Paulo Emílio are strangers to the object inicially addressed by the other, as Gilda elaborates a series of analyses of national and foreign films while Paulo Emílio is not entirely extraneous to the matter of costume, and, consequently, of fashion, in his film critics. Hence, when analyzing the writings of Gilda and Paulo Emílio on fashion and cinema, it is noticeable that the issues of gender and sexuality stand out as relevant matters within their approach, although the perspective adopted by each one is different. At last, it is regarded that even if the analyzes developed by them on these themes are not exempt from reservations or reassessments, it offers an introductory bias to their respective works and their critical methods.

In order to analyze the representation of femininity in cinema, which carries multiple meanings, the current study presents the important relationship between cinema and fashion in the 1920s, revealing the powerful influence that this vehicle of communication had on the life experiences of men and women who enjoyed these exhibition spaces. For this purpose, the applied methodology consists in conducting a brief overview of the cinema’s impact in the Brazilian socio-cultural environment at the time, the modifications in cultural references from Paris to Hollywood, in terms of cinematographic language, and, finally, observing how fashion was present in these transformations and how it stood out considering the scenario.