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Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the relationship between gender and cinema as a contribution to the study of representation in the field of social research. First, the basic features of visual culture in the global society are presented keeping in mind the identity and gender mindsets in this general and current context. Second, the historical links between feminisms and cinema are reviewed as well as between studies of gender and cinema, emphasizing on the theoretical perspective of Teresa De Lauretis. Third, it is postulated the use of film in the process of social research from an experience that - based on building an analytical look at the axis cinema / gender / society-pursued the objective of identifying, understanding and explaining the changes in the female identity in Korea from the senses and meanings that cinematic space condenses. This paper concludes highlighting the relevance and productivity of interweaving gender and film studies in the current problematic field of Social Sciences, deeply marked by a diversity of objects / subjects of study and 'new' epistemological, theoretical and methodological approaches. [ABSTRACT FROM AUTHOR]

Copyright of Pixel-Bit, Revista de Medios y Educacion is the property of Pixel-Bit, Revista de Medios y Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixel-Bit, Revista de Medios y Educacion is the property of Pixel-Bit, Revista de Medios y Educacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cinema fulfills, in some occasions, an argumentative role: in one hand it reflects reality and states of beliefs of large social groups in a specific moment; on the other hand, it provides tools to the spectator in order to consolidate or criticize those beliefs. In this article, I have analyzed how cinema is able to carry out both tasks spreading and denouncing arguments supported in prejudices around homosexuality: I use as a point of departure, the analysis of the movie "But...I'm a Cheerleader" (Babbitt, 1999), In which it can be noticed how movie complies with this double role: It shows the vision that a large part of society has of homosexuality and how this vision is supported in arguments without any support (although they are psychologically persuasive): what in logics is denominated "fallacies." [ABSTRACT FROM AUTHOR]

Ecocritical research focused on cinema is scarce, nevertheless it is necessary when faced with the phenomenon of new media and increasing production of documentaries, videos, and films on environmental subjects. It is a cinema in the Americas with an ecological consciousness that expresses the relationship between human beings and the natural environment. In this article I will outline some key challenges: the borders opened by the media production of biodiverse communities, and the outreach of this opening as an activation of the ecological imagination, as well as a way of filming the notion “Good Life," beyond the control of the development and economic growth models. [ABSTRACT FROM AUTHOR]

This text tries to build theoretical tools for the approach of the cinema as a social practice, specifically in relation to the consumption dimension. Thus, from a perspective grounded in cultural sociology, the analysis proceeds to the analysis of the problematization of consumption in some contemporary developments in sociological, anthropological and communication studies. Then, it reconstructs those studies that have taken the cinema as an object of investigation, going into particular depth with those concerned with the subject as a spectator that contributes to the production of meaning. Finally, the analysis tries to propose, beginning with this state of the art, some theoretical lines and categories that allow understanding cinema as an "in-classed" and "in-classifying" practice. In other words, categories that allow the comprehension of cinema as production of meaning that is grounded and (re)productive, material and symbolic, of the positions of the social structure. [ABSTRACT FROM AUTHOR]

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El artículo se enfoca en la búsqueda de la humanidad por el hombre a través del cine. Se discute de los varios aspectos de la humanidad demostrada a través del cine, incluyendo la muerte, el amor y la trascendencia. Se explora la aproximación al misterio de Dios en el cine, refiriéndose a la pedagogía del deseo y el camino del hombre por encontrarse a sí mismo.

Film has become one of the most significant elements in disclosing and building the memory and collective imagery of present-day societies. It is certainly another way of telling about and bringing us close to the past. This article analyses these key historical and social aspects through the film Las 13 Rosas by Emilio Martínez-Lázaro. This film was produced in 2007, the same year that the Spanish Parliament passed its Ley de Recuperación de la Memoria Histórica. This Act was the result of a marked interest in examining the nature and scope of repression under the Franco regime. In this climate, a large body of literature on the topic emerged. In a reflection of the strength of feeling in society, a number of films were also made that together built up a new image of the country. Las 13 Rosas looks at the breaking up of the clandestine Communist Party in Madrid in 1939, highlighting the way in which the Franco regime's authorities acted and operated in the wake of their victory in the Spanish Civil War (1936–1939). [ABSTRACT FROM AUTHOR]

Sociological theories has defined cinema like a institution: filmology, Christian Metz, Ian Jarvie and Noel Burch explain cinema like a system. However, their conclusions only managed to define the cinema institution shares. We have to go to the institutional theory of Art that defines its object of study like a social construction inside of "art circle". All these concepts refer us to a sociological analysis of the intellectual creation. It's necessary to understand how intellectuals construct this concepts (cinema or art). The concept of "domain" of Pierre Bourdieu is essential to analyze how the theory and the historiography construct the concept of cinema. [ABSTRACT FROM AUTHOR]

In recent Spanish biopic, stands out the cycle of films that has taken to the screen the lives of those individuals branded by dictatorship historic writing. Films like La mujer del anarquista, La buena nueva, Las treces rosas, María querida y Soldados de Salamina, can be considered as the filmic materialisation of the claim of large social segments to rehabilitate the figure of "loser". This fertile path invites to the reflection about the Spanish society needs of building a narrative of History -and his protagonists-, that be able to give sense to our present. [ABSTRACT FROM AUTHOR]

The author presents a synthesis of the thought of the Bolivian communicator and his proposal regarding communication for social change, starting from the history of communication in Latin America and placing the author on a timeline of influence and of academic and research evolution in Latin America. [TRANSLATION]

Copyright of Olivar is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on the representation of marginality as a way of criticizing and denouncing wider social and political forces in Brazil and thereby revealing the social and political anxieties of the Brazilian society of the early 1980s in Hector Babenco's Pixote (1981). Focusing on some self-reflexive sequences in which the cinematic image seems to have suspended the logic of cause and effect which links actions in time, I point to moments within the film in which the flow of movement seems to be interrupted, thereby foregrounding the film's self-conscious theoretical dimension. Such a break of movement, which produces the emergence of the time-image (to use Deleuze's concept) allows for the possibility of aesthetic, ethical and political transcendence. From this perspective, I explore how Pixote can articulate a self-affirmative and emancipatory identity and subjectivity at a micro-political level as a way of challenging the hegemonic ideology under which the film is contextualized at a macro-political level. [ABSTRACT FROM AUTHOR]

In the 60s, Latin American cinema distances itself from its previous tradition, modeled around Hollywood's industry, and emerges into the landscape of World Cinema. New filmmakers propose a political cinema that addresses the urgent social problems of the time and radically breaks with the passivity of the spectator. The activity of these filmmakers was both practical and theoretical, the latter expressed in manifestos which rethink the whole filmmaking process, from production to exhibition. This essay analyzes three of the most influential manifestos, exploring their possibilities, limits and contradictions. [ABSTRACT FROM AUTHOR]

The importance of the television as an agent in shaping popular culture is indisputable. This article intends to study how the audio-visual mass media understand history through several elements: the traditions of the cinema, the adaptation of fictional narratives to the dominant discourses or the historiographic category of the "popular television", which inform us about the public and private uses of the small screen. [ABSTRACT FROM AUTHOR]

Copyright of Enl@ce: Revista Venezolana de Información, Tecnología y Conocimiento is the property of Universidad del Zulia, Laboratorio de Investigacion y Sistemas de Informacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article uses a selection of films to explore the causes that prompted the international migration of Argentinians, for political and economic reasons, using an insider's point of view. I examine the theme of identity, that is, the relationship of individuals with their place of origin, their environment and their country. Also, the aim of this paper is to discuss the validity of film as valuable material in the analysis of the subtleties of social meanings. [ABSTRACT FROM AUTHOR]

The cinema is considered a source of knowledge like for example the law. The students not have the custom to read and they prefer to accede more easily to the knowledge through the television or the Internet. In truth, one is the contribution of the called cinema "social" -in special, the spanish cinema- to the labor and social security law. For that reason, "Los Lunes al sol", de Fernando León de Aranoa, have been chosen. In this film, the story of eight workers after having lost their job as a result of an economic crisis of their company is explained. Thus, it is possible to be made a perfect route by the discipline indicated above and to be demonstrated to the student who all the parts of the law (civil, labor, trade laws...) are tie in the reality. [ABSTRACT FROM AUTHOR]

This paper explores the value of interpreting film from an anthropological point of view, and takes a specific film as an example to put this thesis into practice. The ethical, aesthetic and pedagogical perspectives usually deferred to in courses on film appreciation and criticism are drawn together in an anthropological approach. Moreover, the paper argues that only an approach that encompasses some conception of the human person is capable of offering an explanation which makes sense of the different elements of a film. Finally, to address the anthropological perspective of a filmmaker necessarily involves reflection on the film critic's view of the world. [ABSTRACT FROM AUTHOR]

Cinema is a privileged mean for exploring human condition, not only in that it is visible and effective in following conventional realism. Fundamentally cinema reflects the human element in what it hides but at the same time shows powerfully. Its images may contain more than a mere reproduction of realities empirically verifiable, the unsubstitutable perspective of a personal view as well as the unholdable intensity of 'truly' presented dreams, horrors, illusions and all sort of afective elaborations, ludic and conceptual, that compose the psychology and vital moment of an author. Man is also what it lacks in the visualization of these hard-to-hold deepnesses that will acquire a proper nature in other artistic means (word, mater, color). [ABSTRACT FROM AUTHOR]

Films have broadened reality or, at least, our image of reality, and has broadened as well our virtual experience of life. Due to this factor, it may be considered the main anthropologist of our times. The seventh art, following the ancient human tradition of storytelling, also manifests the narrative character of the human being. The human animal is also a relational being as well as dialogical, that is, it is only constitutes in relation to others: there is no I without a you. This reason explains that the whole life has an argument in which others are necessarily acting characters. Film arguments show us that human life is a relation, links of several narrative forms. This is obtained by showing man's true reality of man, without hiding its mystery, showing him in his daily basis, pressing him to see, imagine and do projects. This is the very educational and ethical function of the seventh art. It is also possible affirm that ethics is an experience and an art in the sense that a persons ethical ideas depend, mostly, on his vital experiences. Personalist philosophers mention three kinds of experiences: encounter, dominion and fusion. Of those three, encounter is the most creative one. People do encounter themselves, but things dominate and fuse. Ethics, as well, is an art because each individual must create the most valuable answers for each situation. But there are conducts that, instead of being creative, are destructive for the person's dignity. Taking as a reference these three kinds of experiences it is possible to evaluate a film's ethical strength. [ABSTRACT FROM AUTHOR]

The author presents an overview of the history of cinema in Colombia during its early years—1915 to 1933. He analyzes the nature of pioneer productions—among them, the movies of the Di Doménico brothers—, and reflects on the idea of seeing the country projected in films. Tendentious morality, passionate tragedy, and the construction of melodrama, are some of the topics presented by the author in his reading of the social introduction of cinema in Colombia. [ABSTRACT FROM AUTHOR]

El artículo enfoca en la distribución de las cinematografías periféricas. Se propone una aproximación a los discursos sobre el proceso de distribución de las políticas y se centra el análisis en el caso de los cines minoritarios, periféricos, y de calidad. Se comenta en la circulación de estos filmes y en sus representaciones sociales.

This article describes the historic and current problems of Latin American cinema in facing the huge power of American film-making industry. It provides materials for showing that development and strengthen of it occurred with government public policies participation. The author proposes here that problems of Latin American cinema won't be solved by "market forces" themselves, but there is the need of rely on both national and international public policies for their support. [ABSTRACT FROM AUTHOR]

The article explores the connections between the cinema and society, specifically within the works of British film maker David Puttnam. Puttnam, who has produced movies such as "The Killing Fields," Chariots of Fire," and "The Mission," argues that movies can have a tremendous impact on society. His films have all included messages of social and ethical responsibility and is considered by many to be one of the leading figures in the industry that understands the power of cinema. The article examines Puttnam's understanding of audiovisual influence on collective attitudes.

The article examines the humanistic approaches in appreciating the art of film. It explores various specifications in how film is a reflection of cultural identity. One premise is the presence of limitations in cultural thresholds that enable the audience to understand the narrative. Another particularization is that these thresholds are molded based on the cultural traditions in which the film portrays. The last premise states that the cultural identity of a film relates more to personal identity than with the historical and social conditions of a given moment. The article discusses these premises in relation to Terry Gilliam's movie "Brazil."

The article analyzes the relationship between Colombian literature and national cinema. It is said that the Colombian who in the last century has attracted the most attention in the field of Colombian cinema has been Gabriel García Márquez, a writer. This indicates an important cultural relationship between classic literature and cinema, and throughout the history of film in Colombia, writers have been looked to to provide backing for the filmmaking industry. The early motion pictures "María" and "Aura o las violetas" were both based on popular novels. The conflict between the visual and the literal in the case of Colombian writing and cinema is discussed. The battle over whether to make a motion picture version of García Márquez's novel "Cien años de soledad" is discussed.

An essay is presented on Le Cinéma Numérique Ambulant (CNA), an organization dedicated to presenting films and audiovisual productions to poor, isolated, rural and urban populations in Africa. The role of CNA and films in connecting and uniting different cultures, ethnicities, and communities is discussed in relation to the political and social realities in Africa.

La industria del cine nos deslumbra y emociona una vez más; pero en esta oportunidad, el aplauso más prolongado va por enseñarnos a enseñar en el mar de la diversidad. [ABSTRACT FROM AUTHOR]

Se presentan los temas abordados en este número de la revista que incluyen la carrera armamantista entre Brasil, Argentina y Chile, negociación de reconocimiento social en Panamá colonial y el impacto del cine en los discursos y las prácticas sociales en Rosario, Argentina.