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The film industry remains a male-dominated sector, particularly in managerial, creative, and technical positions. In this context, we explore the work of female directors in Spanish cinema concerning ETA terrorism (1977-2023) to observe and assess the contribution of women in a doubly masculine environment: film direction and terrorist violence. Within the framework of the so-called “battle of the narrative” and film and gender studies, and based on a qualitative methodology involving textual analysis of feature films and the study of existing literature, we trace the presence and voice of female directors. We investigate who they are, their number, and their contribution to cinema concerning ETA and Spanish cinema in general. We examine the stories, genres, and themes they choose and the perspectives from which they approach them. We consider both the form and contextual issues related to the production and reception of their works. The results show that female directors are a minority in films about terrorism in Euskadi. We conclude that their work can be seen as a disruption in an adverse environment. They prefer genres such as drama or documentary, focus on a human perspective, several depict real or based-on-true-events stories featuring strong, free female protagonists, and several works approach the stories of victims. They feature characters, predominantly female, who defy stereotypes. Overall, they contribute to the memory of past events with a critical view of violence. [ABSTRACT FROM AUTHOR]

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Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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 Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

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Copyright of Imagofagia is the property of Imagofagia - AsAECA 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 ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia 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 conceptualization of a distorted image around the Arab/Muslim is the result of a tangled process where the relationship between the Western Us and the Eastern Other has a hostile and devastating character. The domination of the Different Other is the complicated accumulation of historical processes where philosophical and scientific theories intertwine with the religious recommendations of missionaries at the service of the colonial era. The historical background based on the colonizations has cemented solid platforms to fix in the Western collective memory a constant difference between the superior Westerner versus the other inferior. These bases are fed, today, in new ways to continue marking gaps between both parties, and fossilize, with great fluidity, in the idiosyncrasy of the Westerner the image of the barbaric and impotent Other. In this essay we present a brief diachronic journey about the relationship between the West and the East to expose some facts belonging to different fields, and that have been used to justify the colonial process. Likewise, we tried to delimit the new aspects that fuel the stereotype inherent to the Arab/Muslim and that concretize the inferiority of the other Oriental, namely: the media, the film industry, novels and translations. [ABSTRACT FROM AUTHOR]

Copyright of H-Industria: Revista de Historia de la Industria Argentina y Latinoamericana is the property of H-Industria, Revista de Historia de la Industria Argentina y Latinoamericana 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 Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 H-Industria: Revista de Historia de la Industria Argentina y Latinoamericana is the property of H-Industria, Revista de Historia de la Industria Argentina y Latinoamericana 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 present panorama shows a society saturated with images, driven using mobile devices and constant audiovisual consumption. However, no greater skills are achieved in users, but on the contrary, there is evidence of a detriment in the rate of attention and the need for a differentiating product from the wide range of available content. Given this recent uncertainty, the film industry has found a great ally in technology. The existence of technologies such as augmented reality is still in its infancy and raises new questions about the potential for its use in film. In this study, we conducted a case study analysis of the first Disney augmented reality short film, Remembering (Allan-Blitz, 2022). The methodology used focuses on three approaches: audiovisual language, technological viewing and the role of the receiver. The results show the existence of a digital and economic disparity, due to the particularity of the viewing hardware. In addition, the story presents a tripartite narrative; a slower and simpler one with wide shots, a faster and more unstable one where physical and virtual spaces converge, and a last one created by the user as a steadycam. These readings require a more active and present spectator, in a story that lacks the adaptation of audiovisual language to the new form of visualization, in which the possibilities of time and space provided by these technologies are not taken advantage of. [ABSTRACT FROM AUTHOR]

The following study aims to analyze the impact of COVID-19 on the film industry and the growth of streaming services. The qualitative method classified as exploratory is used to obtain updated and little-explored results. As an example, a high preference for the consumption of streaming services was found during the study period, indicating a strong growth of the same market, and thus increasing consumption capacities for the coming years. [ABSTRACT FROM AUTHOR]

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 "Arrival of the cinematograph in the exotic Caribbean" by Carlos López Lizarazo analyzes the impact of cinema in the Caribbean region. It examines the arrival of the cinematograph in different Caribbean countries and its influence on the local film industry. Topics such as cultural identity, film production, and cultural exchanges between Cartagena, Veracruz, and Havana are explored. The article provides a comparative view of the film industry in the Caribbean and highlights the importance of cinema in the construction of national identity. [Extracted from the article]

This article analyzes the use of product placement in the feature-length content produced by the agency 2bLatam (formerly Touché Films) under its division 2bOriginals, in order to evaluate the evolution of this advertising technique as a source of financing for one of the most important audiovisual production agencies in the Ecuadorian film industry. The content analysis methodology proposed by Martí Parreño (2011) is employed to quantitatively describe the product and/or brand placements found in four feature films: Enchufe sin Visa (2016), Dedicada a mi Ex (2019), Misfit (2021), and Mortal Glitch (2020), according to the variables defined by the aforementioned author. Our analysis reveals a clear evolution in the appeal that 2bLatam's films exert on advertising brands, transitioning from a scarce number of brands in their first film to an abundance of them in their latest feature. These findings support the effectiveness of the film management model led by the creators of EnchufeTV, shifting from public funding to private sponsorship as an alternative for content production in Latin America. [ABSTRACT FROM AUTHOR]

The article presents an interview with María Luisa Pino, Guillermo López Aliaga, and Fran Mateu about their experiences in the world of film and special makeup effects. Pino emphasizes that special makeup effects consist of disfiguring characters through sculpture and the use of special latex. It is mentioned that Pino worked in the special effects department of the film "The NeverEnding Story" and that a technical team of around 30 people was needed to work on the special makeup effects of creatures and animatronics. Their relationship with different directors and their involvement in films such as "Conan the Barbarian" and "Open Your Eyes" is also mentioned. Pino expresses her opinion on digital special effects and highlights the importance of cooperation in the film industry. [Extracted from the article]

Copyright of Pasajes: Revista de Pensamiento Contemporáneo is the property of Publicacions Universitat de Valencia 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 Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication 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 Revista Fotocinema is the property of Revista Fotocinema 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 Index.Comunicación is the property of Index.comunicacion 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.)

Objective/Context: In the contemporary world film landscape (the 1990s to the 21st century), the film media allude to a new great "Latino" furor in Hollywood. This article proposes to stimulate reflection and debate on how Hollywood has cultivated this Latino "rage" from the 1920s to the present. Methodology: Based on the historiography of the process of building, industrializing and exporting "Latino-ness," combined with diplomatic documentation and recent press information, and from a political economy of cinema point of view in particular, this article establishes the correlation between the supposed "Latinization" of Hollywood and the historical-economic reasons for the inclusion of Ibero-American artistic elements in "the Mecca of cinema." Originality: Most studies on Hollywood's "Latinization" emphasize the industry's racialization, stereotypes and biases in its view of the "others" it has incorporated. The originality of this study lies in drawing on the less usual theoretical perspectives of the political economy of cinema (in conjunction with information on strategies and economic data currently circulating in the press) to explain more clearly the reasons for the myth of the "Latinization" of American cinema and its ultimate ends. The article posits a "Latinization" of economic, and not just ideological, causation and its explanation from theoretical perspectives on otherness and its implications. Conclusions: The analysis of this phenomenon evidences that the Ibero-American artistic elements incorporated by Hollywood are estimated by their "market value" as necessary and attractive "inputs" in front of Ibero-American audiences rather than by the reality of their talent. Additionally, incorporating Ibero-American talent is helpful to avoid eventual competition with other cinematographies in an industry that, like Hollywood, is, above all, an economic institution and a business. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) 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.)

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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 Imagofagia is the property of Imagofagia - AsAECA 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 objective of this work is to carry out a comparative analysis of both textual and contextual adaptation of what has been called a transnational remake, in two case studies of Latin American productions, adapted in Hollywood, the so-called capital of cinema. On textual analysis, we make sequence analysis about construction and reconstruction of spaces and personal spaces; on the context level, we address the chain of production, distribution and, exhibition. We study the tension between the transnational and the national categories that find links and differences between the cinematographic (the discursive, aesthetic or, stylistic) and the extra-cinematographic (the ideological, economic or historical). Finally, we find some indications that explain the economy field and the “cultural translation” in where has to be a safe production ground like the transnational remake. [ABSTRACT FROM AUTHOR]

Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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 Revista Fotocinema is the property of Revista Fotocinema 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 Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid 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 Imagofagia is the property of Imagofagia - AsAECA 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.)

Spanish cinema is a masculinized industry where the percentage of professional women is very low. Although the figures show a significant gender gap, positive changes have been seen in the last decade. This research analyzes the factors that have allowed these changes in the Spanish film industry. Data will be offered that support the effectiveness of positive discrimination measures and quotas established in the Film Law since 2017 and other policies and initiatives, both public and private, that try to promote female creativity in Spanish cinema will be reported. [ABSTRACT FROM AUTHOR]

This article analyzes Netflix's strategic identification with the notion of diversity, both offscreen and on-screen. Drawing on its public communications, on industry reports and on the literature about the subject, it focuses on two dimensions: the relationship between diversity, inclusion, company policy and Netflix's brand identity, emphasizing workforce diversity (off-screen); and the diversity of its content based on the broad category of Netflix Originals, considering diversity of place, gender and ethnicity or "race" (on-screen). Thus, the text critically reveals multiple complementary strategies, increasingly employed globally to build a brand identity linked to diversity as a positive value that is reclaimed in the 21st century. Through this brand identification with diversity, Netflix seeks to distinguish itself from both the traditional audiovisual industry and from its competitors, contributing to its hegemony in the global video-on-demand market. [ABSTRACT FROM AUTHOR]

Copyright of CPMark: Caderno Profissional de Marketing is the property of Caderno Professional de Marketing Unimep - CPMark 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.)

In this article I translate and analyze for the first time a text by Orson Welles, originally published in the February 1941 issue of Stage. Its title, 'Orson Welles writes about Orson Welles', is an indication of its ironic tone, since it is devoted almost entirely to criticizing the Hollywood film industry, especially regarding the figure of the producer. The date of its publication, three months before the premiere of Citizen Kane (1941), its humorous look and its undeniable parrhesia, reinforce the importance of this text to know his ideas about film and his connection with Hollywood, but also his conception of the art of directing, the role of production and other filmic aspects such as music and acting. This text contains not only an aesthetic, but also an ethic and even a philosophy of cinema, which is inseparable from a way of life. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 examines the relationship between the Mexican government and cinema unions between the 1910s and 1944. I show how unions influenced the creation and dissemination of a national identity in film through strikes and contract negotiations. To that end, I analyze the history of cinema unions in Mexico and then examine the conflict between two major groups within the cinema unions—the actors and technical workers—and its impact on the film industry. The article also examines how the government negotiated with the unions and argues that unions influenced the film industry and censorship through debates and compromises with government officials. [ABSTRACT FROM AUTHOR]

The cinema arrived in the city of Santiago de Cuba on 9 August 1906 and immediately became one of the most attractive cultural and social phenomena at the beginning of the century. This article publishes the results of research on film exhibition spaces between 1906 and 1918, for which a hybrid methodological approach was used. Fourteen places of exhibition were identified, four of which have survived despite the social and cultural transformations of Santiago society. The result is a cartography that provides a basis for the initial context of film screenings in the city and is a valuable communication tool. The mapping reflects the classification of the sites and their value within the cinematographic heritage of Santiago de Compostela, making a contribution to the historical and cultural memory of the locality. [ABSTRACT FROM AUTHOR]

Copyright of Doxa Comunicación is the property of Fundacion Universitaria San Pablo - CEU 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.)

In the film industry, as in all other sectors, Algerian women face double censorship: first that of the regime in situ and then that of men and society. In any case, from Assia Djebar's first female feature film to Yasmine Chouikh, Algerian filmmakers have known how to free themselves from these limits by turning the cinematographic space into a space for female revolution. This article aims to shed light on the relationship of women with the film industry. [ABSTRACT FROM AUTHOR]

The aim of this work is to establish the significance of the film Río Escondido 's script. Consequently, it is evident that in this film the role of the author is different since its script is a collective, polyphonic, and convergent work. In such a way, it is analyzed the History's documents in connection to the story from the script as a semiotic approach that allows the transfer from text to screen. By this way, the analysis is focused on the relevance of the script's literariness which is supressed in the film and might implies a controversy in between the writer and the director. It is concluded, in this approach, the importance of the literary analysis in the Mexican film industry, far away from mercantilization and stated cliches. [ABSTRACT FROM AUTHOR]

One of the most dynamic and economically important industries within the Creative Economy is the film industry. Cuba has a tradition in this field and has been supported by the government since the beginning of the revolutionary process. At the moment of crisis that the country is going through today, this industry could occupy a relevant place in the national development strategy. This article offers a brief overview of the current situation of cinema in Cuba, particularly in Havana, the city with the greatest potential in this sector, with the aim of identifying opportunities and limitations to promote its development and, consequently, outline possible strategic lines aimed at that end. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ciencias Sociales (13159518) is the property of Revista de Ciencias Sociales de la Universidad del Zulia Venezuela 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.)

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Copyright of Revista de Comunicación 'Vivat Academia' is the property of Facultad de Ciencias de las Informacion de la Universidad Complutense (Espana) 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.)