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The release of both Young Winston (R. Attenborough, 1972) and Darkest Hour (J. Wright, 2017) coincide with two critical moments in the history of Europe and United Kingdom. The former, in the wake of the 1968 protest movements; the latter, in the midst of the political and socio-economic decline of the Western world. Both films offer a positive portrayal of Winston Churchill as a political leader. In this article, we link the concrete qualities highlighted in Churchill’s character with the crisis that was escalating at the time of each release. Besides, we connect the two biopics to the relevant stages of the "European Dream": namely, its peak and its decline. The analysis concludes that in both films Churchill’s image is cut out according to the most desired leadership pattern of the related historical time period., Las películas El joven Winston (Young Winston, R. Attenborough, 1972) y El instante más oscuro (Darkest Hour, J. Wright, 2017) se estrenan en dos momentos críticos en Europa y el Reino Unido, vinculados a la revolución del 68 en el primer caso, y al declive político y socioeconómico del mundo occidental, en el segundo. Ambos filmes imprimen una representación positiva de Winston Churchill como líder político. En este artículo se pone en relación al personaje y las cualidades concretas que se subrayan de él con la crisis que acontece en el momento del estreno de cada película. Asimismo se vinculan estos biopics con el momento que atraviesa en cada caso el “sueño europeo”: su apogeo y su declive. El análisis concluye que la imagen de Churchill se recorta en cada filme de acuerdo con el patrón de liderazgo más deseado en cada momento histórico.

The movies The Social Network (David Fincher, 2010) and Steve Jobs (Danny Boyle, 2015) are biographies of two outstanding figures in the digital revolution: the young multimillionaire Mark Zuckerberg, Facebook co-founder and CEO, and the famous co-founder and executive chairman of Apple, Steve Jobs. Written by the renowned screenwriter Aaron Sorkin, what these two movies have in common is that they present different orders or layers of meaning, allowing us to see beyond the life of the protagonists in the interpretation. Sorkin, in both stories, delves deeply into the psychological characteristics of the geniuses. In addition, in both cases, he creates a dramatic character, which can be identified with archetypes and familiar figures from western narrative, the tragic hero and the narcissist. But additionally, he shows these characters as icons of our times and through them presents a reflection on nowadays and the impact the digital revolution has had in the last few decades, Las películas The Social Network (David Fincher, 2010) y Steve Jobs (Danny Boyle, 2015) son biografías de dos figuras relevantes de la revolución digital: el joven multimillonario Mark Zuckerberg, cofundador y CEO de Facebook, y el famoso cofundador y presidente ejecutivo de Apple Inc. Escritas por el reconocido guionista Aaron Sorkin, estas dos películas tienen en común que presentan diferentes estratos o capas de significado, permitiendo ir más allá de la vida de sus protagonistas en la interpretación. Sorkin, en ambas historias, ahonda en los rasgos psicológicos del genio. Por otro lado, y en ambos casos, crea un personaje dramático universal, al que cabe identificar con arquetipos y figuras reconocibles en la narrativa occidental, como el héroe trágico y el narciso. Pero además, trabaja a estos personajes como iconos de nuestro tiempo y a través de ellos da pie a una reflexión sobre el tiempo presente y el impacto que supone la revolución digital en las últimas décadas.

La inmigración ha cobrado de nuevo importancia a finales de los años noventa en España. Por este motivo, los medios de comunicación empezaron a poner atención en los inmigrantes, no solo en cuanto tema informativo, sino también como protagonistas de las obras de ficción o como público con unas necesidades específicas que hay que satisfacer. En la presente comunicación, revisaremos la investigación académica sobre los medios e inmigración y elaboraremos un catálogo de los medios sobre inmigración y para inmigrantes, de acuerdo a diferentes criterios, como financiación, promotores, idioma. El objetivo es reflexionar sobre las razones que explican la configuración de este nuevo mercado y cuestionar si tienen que ver más con razones comerciales o políticas., Immigration has become a social phenomenon with increasing importance in Spain. For that reason, media has put special focus on this issue, not only in news, but also in fiction products for television and cinema. In 2000s immigration topic appears quite often in plots and characters of serials and films. Moreover, immigrants’ communities have become a new target for television programs and channels. In this paper, we will review the research that has been done about this topic and will make a catalogue of this kind of film and television works. The purpose is to find out the reasons that possibly explain this phenomenon. Those can be a mix of commercial interests, issues of the political agenda or the reflection of a social fact. Hence, we will identify the audiovisual works related to immigration, then we will classify them according to different criteria, and finally, we will raise some conclusions about the causes of this recent development.

Ruth Prawer Jhabvala uses irony in a good number of her novels and screenplays to evaluate, as a theme, the adulteration of art. Specifically, she turns to three different patterns of irony to articulate it. Each of these patterns is distinguished by the matter that it censures: the merchandizing of art, the idolatry which art may raise, and the corruption of art by the culture of entertainment. But all of these have elements in common. Jhabvala composes the patterns by establishing paradigmatic models of relationships between characters, which are also caricatured in various degrees. In order to understand how these structures are shaped and how they articulate the issue of art, I will develop and illustrate each of them in this article.