Abstract

Abstract: Due to different factors (institutional censorship, self-censorship, film industry strategies), it took a long time for everyday extramarital sexuality to become a thematic field of some importance and visibility in sound films in Argentina. However, the changes in sexuality and the family models of the 1960s and 1970s had a cinematic representation. Therefore, the particular axes of the argument of this paper are the following: establishing the genesis of the appearance of the different spaces of sexual contact, besides those of the brothel, with a profuse and continuous presence in Argentine cinematography; establishing the specific weight that the image of each of these spaces acquired in chronological terms; analyzing the relationship between the cinematographic image of each space and the specific class habitus of the characters portrayed in them; investigating the possible associations between the representation of these spaces and the approach to forms of transgression to official sexual morality; investigating the continuity of formats, conventions, aesthetics, and plot formulas with the tendency to consolidate specific subgenres; relating the cinematographic image of these spaces with their presence in other fields.

Keywords: Argentine cinema, spaces of sexuality, cinematography, moral transgression.

Abstract

Abstract: This article synthesizes the results of the research aimed at studying the reconstruction of the memory of the process of political violence from 1980 to 2000 in Peru, particularly in the city of Ayacucho, based on the visualization of the film production La Casa Rosada [The Pink House]. The approach of the study was qualitative, the units of analysis were made up of 30 informants, citizens over 45 years of age who lived through the internal armed conflict in Ayacucho. For data collection, we used in-depth interviews and focus groups. The main conclusion is that cinema based on real events and, as a means of social communication, is an effective tool that helps in the reconstruction of individual and collective memory; because, in the film under study, through its images, the victims remember the acts of violence experienced during the years 1980 to 2000, with the hope that their dead and disappeared will not continue to be instrumentalized.

Keywords: cinema, political violence, memory, reconstruction.

Abstract

Abstract: This work will offer an interpretation of Divino Pastor Góngora, play written by Jaime Chabaud. It also seeks to explain how art manifests itself in the play and contributes to counter-conquest movements that emerged in New Spain’s society. In the same way, I demonstrate how the rituality manifested through the metatheatre seeks the survival of the subject. Likewise, the relationship between the context of New Spain and the contemporary will be remarked, in order to understand its reception, and the dialogue with history.
Keywords: Chabaud, New Spain, memory, transcendence, inquisition, ritual, metatheatre.

Abstract

Abstract: The research analyzes and classifies the studies on political journalism represented in the cinema of English-speaking countries, analyzing three cinematographic works on the subject: The Bang Bang Club (2010), Truth (2015) and Shock and Awe (2017); and three Peruvian films, Reportaje a la muerte (1993), Tinta Roja (2000) and F-27 (2014). It is a comparative study, which conceptually determines the archetype of political journalism; identifies the models of representation of political journalism in anglo-saxon cinema in the last decade; and outlines the problem of Peruvian films on political journalism. Description and analysis sheets are applied to the referred films, and a final synthesis is made. It is concluded that Anglo-Saxon cinema has built a committed and mature representation of the profession in the face of political conflicts and the social context. However, Peruvian cinema has still little touched on the subject, and insufficiently in terms of references to the political context of the Belaunde or Fujimori regimes, which is why journalism is not represented with responsibility or consistency in the incipient and dependent Peruvian cinema, despite the manifest problem of freedom of expression through journalism.

Keywords: journalism, political journalism, peruvian cinema, cinema, representation.

Abstract

Abstract: the objective of the study was to determine that the Peruvian university does not intervene in the function and management of the Mass Media (MMCCMM). Five academic units of analysis defined the population and sample. The results indicated that the current Peruvian university does not participate with the MMCCMM in the training of students. The study proposes reflexive lines for the ethical overcoming of the Media, from an academic perspective. This work aims to clarify the scope of intervention of the university in the MMCCMM, is intended to promote its guidelines to implement a communication policy project and is aimed at promoting a raising of ethical and moral awareness in production, training, updating and clarification of the communication sources. Demonstrative axis of this study is underlined by the testimonial fact that the current Peruvian university has a null participation in the formation and management of the MMCCMM of Peru: prolonged academic silence due to the absence of their role, due to the lack of state political initiative in the face of the alienating role of the media; but that due to its ethical, moral and universal history, the university in Peru can become a nexus, agent, bridge and guarantor of a regulation and constructive / formative control of higher students, together with the State. Central aspect that is touched in these lines, is the confirmation that the current Peruvian society is registering, a rupture of its identity due to the rapid and excessive access of messages alien to its authenticity and reality based on the MMCCMM, being the illiterate sectors or semi-literate those who receive the greatest impact.

Keywords: communication, philosophy, mass media, mission, university.

Abstract

Abstract: The usual discussions presented in the so-called “Generation of the eighties” start from the political and social situation experienced due to the internal armed conflict and the constant economic and social crisis generated in Peru in the 1980s of the 20th century. Consequently, these circumstances generated the emergence of various artists and intellectuals who showed their own introspective vision of the world in a mass awareness; such was the case of the Peruvian artist Sergio Zevallos. Therefore, the present investigation proposes to establish that Sergio Zevallos used his body as a plastic entity for political visualization, during the aforementioned social situation based on the aesthetic analysis of the photographic series Military Notebook, that belongs to the Suburbs series, a work that was exhibited at the Museum of Art of Lima (MALI) in collaboration with the Cultural Center of Spain, in the city of Lima, Peru, in November 2013.

Keywords: Sergio Zevallos, generation of the eighties, 20th century Peruvian art, body, political art.

Abstract

Abstract: The research analyzes the use of the identity concept of the neto subject, as a symbol of cultural hybridization, success and progress, present in the video of the advertising campaign Cholo I am, from the financial company “MiBanco” during the summer of 2016. Analyzing the video that was not broadcast on Television but on the Internet, it was found that the narrative construction of said commercial was formally based on the cholo, but symbolically and conceptually on the 'neto', and this new identity element constitutes the insight of these advertising messages, by generating identification codes close to the emerging primary target audience to which said campaign is directed.

Keywords: Neto, hybridization, identity, insight.

Abstract

Abstract: The objective of this article is to analyze the incidence of discourse markers in the writing of texts related to football, published by the sports newspaper El Bocón (which is published in Peru), during the Apertura 2017 Tournament, as well as the influence of sensational style in the writing of the mentioned newspaper. For this, a corpus composed of 104 copies of the aforementioned newspaper was registered and studied, achieving the following results: 111 markers was verified, of which 26 were identified as innovative. Likewise, it is appreciated that the textual genre of the sports discourse of the newspaper El Bocón, in this national championship, has essentially used connectors and, to a lesser extent, structuring and conversational markers. From these findings, it is inferred that many of these discourse markers are more appropriate as sensationalist discourse tools for the journalistic style of the Peruvian sports newsroom.

Keywords: discourse markers, connectors, sports journalism, sensationalism, El Bocón newspaper.

Abstract

Abstract: After 36 years, Peru returned to the FIFA World Cup. A long wait could not go noticed by the Peruvians. In fact, the euphoria experienced nationally had an impact on all spheres of society, despite the fact that there was a tense political atmosphere - which even led to the resignation of President Pedro Pablo Kuczynski and the assumption of Martín Vizcarra. This article has reviewed the messages on Twitter of President Martín Vizcarra and the ministries that make up the executive branch to analyze the influence of the 2018 FIFA World Cup Russia 2018 on the government's digital communication. In that sense, the contribution of this research lies in demonstrating that the participation of the Peruvian national team in this international sports competition influenced the actions and messages of the executive branch. On the one hand, Martín Vizcarra published tweets with a strong emotional charge exalting national unity and patriotism; while the ministries through their official Twitter accounts took the opportunity to prepare and disseminate informational messages about their achievements and sectoral actions.

Keywords: soccer, politics, speech, Twitter.

Abstract

Abstract: The tension represents the fundamental element that feeds the moments of greater flux of the political cartoon. This is a hypothesis that we test again in the study that gave rise to this article, but this time, conditioned by a political phenomenon: the armed conflict. The idea was collect new data about the ability of the political cartoon to resist situations of deep and unusual tension. The conflict internal armed was one of these moments. The study follow an exploratory, descriptive and explanatory line. The methodological approach was qualitative and made use of contextual, symbolic and hermeneutical analysis. The results of the investigation show that the political cartoon was, at certain times, in other cases instrumental and subsidiary of informative, corrosive and critical discourse at times, indifferent and elusive to its structural causes and, laconic, especially, towards the end of the eighties.

Keywords: cartoon, armed conflict, Peru.