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Tema principal del artículo: El mito es un recurso ancestral, tradicionalmente usado en la publicidad. El deepfake, una tecnología novedosa y polémica que abre un extraordinario horizonte creativo. La antigüedad del mito y la innovación del deepfake pueden combinarse para crear un mensaje de marca capaz de alcanzar una extraordinaria difusión viral. Desarrollo lógico del tema: En enero de 2021, la marca cervecera Cruzcampo lanzó una campaña publicitaria protagonizada por Lola Flores, artista española de fama internacional fallecida en 1995. En cuestión de horas, la campaña batió récords de difusión en los medios digitales. Su principal peculiaridad fue el uso del deepfake para ‘devolver a la vida’ a la mítica artista, así como poner en su boca un mensaje reivindicativo, que movilizaba al público a defender su acento. Punto de vista y aportaciones de los autores: Realizamos un ejercicio de análisis de la campaña para reflexionar sobre la función del mito y los demás factores que han favorecido su viralidad. También observamos este caso como ejemplo de la transformación de las figuras del anunciante y la agencia en el sector publicitario actual. Para enriquecer la reflexión, aportamos información primaria obtenida a través de una doble metodología: una investigación cualitativa (entrevistas), para conocer la estrategia y proceso de creación; y una investigación cuantitativa (cuestionario) para medir el alcance del mensaje y la contribución de los usuarios en su difusión. Repercusiones y conclusiones: El análisis de esta campaña muestra los elementos estratégicos que han permitido generar sinergias entre el mito y las nuevas tendencias en comunicación digital, tales como la tecnología deepfake, la transmedialidad, o una estrategia de branding inspirada en un concepto de RSC. En este sentido, aporta información relevante como caso de éxito, que podrá ser de interés para investigadores y el sector de la publicidad.

This paper aims to unlock the potential for the politicization of art in the age of the meme. Drawing on Walter Benjamin's ideas, we suggest that technologies of viral reproduction create the tools and conditions for blasting the present moment out of the oppressive vice of classical historiography. While fascism retrenches on "art for art's sake" in defense of principles of origin, authenticity, and mastery, we envision a politicization of the art of the meme not simply through content but through practice. This paper attempts to engage in this practice through creative invention. We work across two cases, one "real" (Richard Spencer gets punched) and one of our own creation: the viral life and death of Quodlibet, an anachronistic DJ. Our wager is that the blast of now-time that the meme unleashes can be used to lay bare the myth of mastery and open a space for new subjects, forms, and practices. At the same time, we show how the meme is prone to boomerang effects and reterritorializations that can reverse back into fascist aestheticism, the catastrophic status quo, and the dominance of the market. Playfully and without self-seriousness, our goal in this paper is to open the image sphere: to slip into the Internet's dream house and rummage its drawers for a revolutionary politics. [ABSTRACT FROM AUTHOR]

The viral interactive marketing represents to the new era of the technology for its benefits where limit doesn't exist, more when its market is young and the interaction permanency is active, all this implies a great effort for the creators of the social networks being its development place. The innovation of the traditional marketing to a viral interactive marketing where people, virtual platforms and to work of the necessities is active, they are working to be implemented in the educational area where it is possible to foment the reading, writting, creativity, investigation and analysis for the projects of the students contributing to the learning of the society.

Recent cinema has been a reliable purveyor of dystopian tales that focus on the global spread of viruses. The anxiety and fascination over the end of the world and, in particular, over the invasion of infectious pathogens has turned these films into apt modes of expression of a post-9/11 context of pervasive fear that sociologists like Ulrich Beck have termed "world risk society." This article pro vides a close textual analysis of one of these films, Alfonso Cuarón's Children of Men (2006), situating it at the forefront of this trend. Following Zygmunt Bauman's notion of liquid fear, this article aims to explore how the visual language of the long take and the continuous superposition of intertextual references help to construct a liquid space and time in which viral threats, like epidemics and immunological fear mongering discourses on terrorism and migration, easily proliferate. The infertility epidemic works as a suitable metaphor of this liquid environment, representing not only the barren malaise of our globalized times but also every invisible fear that spreads across borders, invades and segregates individuals into healthy Us and contaminated and dehumanized Others. [ABSTRACT FROM AUTHOR]