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espanolEl cine social espanol elige evidenciar universos narrativos relacionados con la microhistoria para mostrar una sociedad en evolucion a partir de la epoca de la transicion politica. El cambio de milenio presenta un panorama que posee muchas diferencias con etapas anteriores por lo que el cine mas apegado al realismo ofrece numerosos ejemplos de personajes pertenecientes a lo que se considera “la otredad”. Este trabajo se centra en la etapa que atraviesa desde 1999 a 2011 en el cine espanol, abordando el analisis de los caracteres de tres esferas diferentes de “otros”: tematicas sociales como la inmigracion, las identidades sexuales o de genero no normativas y la delincuencia se desarrollan desde perspectivas individuales, cotidianas y concretas apoyando la tesis de Quintana (2008) en la que denomina “realismo timido” esta forma de tratar lo social. Para el acercamiento y profundizacion en estos personajes olvidados y marginales se buscan las particularidades principales y las constantes a partir del analisis narrativo y el estudio de casos. EnglishSpanish social cinema chooses to emphasize narrative universes related to microhistory in order to show a society in evolution from the time of the political transition. The turn of the millennium presents a panorama that has many differences with previous stages, therefore the cinema more attached to realism offers numerous examples of characters belonging to what is considered "the otherness”. This paper focuses on the period from 1999 to 2011 in Spanish cinema, analyzing the characters of three different spheres of "others": social issues such as immigration, non-normative sexual and gender identities and crime are developed from individual, daily and concrete perspectives, supporting Quintana's thesis (2008) in which he calls this way of dealing with social issues "shy realism". In order to approach these forgotten and marginal characters in greater depth, the main particularities and constants are sought through narrative analysis and case studies.

Imago Mundi ofrece un recorrido por la historia de la comunicación visual del siglo XX a través de imágenes significativas que dan cuenta de la cultura y del pensamiento del momento en el que fueron producidas. Sus coordinadoras y los autores que han colaborado en análisis de las imágenes que componen la obra son profesores de la Facultad de Comunicación de la Universidad de Sevilla. Por tanto, la selección de las mismas proviene de especialistas en áreas como el Periodismo, la Publicidad, las Relaciones Públicas y la Comunicación Audiovisual (cómic, fotografía, cine, televisión, Internet y nuevas tecnologías, fundamentalmente).

España durante los gobiernos socialistas (1982-1996) vivió profundos cambios que inevitablemente se reflejan en la producción audiovisual de la época; uno de ellos atañe a la llegada de inmigrantes para trabajar en nuestro país. En esta época el inmigrante empieza a ser un personaje de nuestro cine, pero su forma de aparecer puede ser variada: como mero elemento paisajístico (personaje secundario del que no se muestra ni su problemática ni su personalidad) o, por el contrario, un personaje sobre el que gira la trama y al que se le otorga una atención sustancial. Podemos considerar que estamos, en este último supuesto, ante el Cine de la alteridad. En este artículo se intentan establecer las bases narrativas de este cine surgido en la era socialista a partir de un estudio de casos con el análisis de dos discursos audiovisuales aparentemente muy diferentes: Las cartas de Alou (Montxo Armendariz, 1990) y Ciudadanos bajo sospecha (Llorenç Soler, 1993). During the socialist period (1982-1996), Spain went through a series of deep changes that were inevitably reflected on the audiovisual production of the time. One of such changes concerns the arrival of immigrants to work in our country. At this time, the immigrant starts to become a character in our cinema, but its representation can differ greatly: as a mere landscape element (secondary character of whom neither his problematics nor his personality are shown) or, on the contrary, a character around which the plot and who is given substantial attention. We can say that we are, in the latter case, in the face of Outlandish Cinema. This paper tries to establish the narrative bases of this cinema which emerged in the socialist period through a case study based on the analysis of two apparently very different audiovisual: Las cartas de Alou (Montxo Armendariz, 1990) and Ciudadanos bajo sospecha (Llorenç Soler, 1993).

This article aims to investigate the presence of the Latin-American immigrant woman in the Spanish cinema, based on an extensive corpus of films within the period 1999-2012. Thus, it has been applied methodological tools of Content Analysis and the theoretical discussion is grounded on Cultural Studies, Audiovisual Narrative and Gender Studies. The results indicate that the presence of those women is effective, even as main characters, but constituted by hegemonic bases regarding nationality, ethnicity and age range. Furthermore, it has been verified that there is a predominance of drama as a cinematographic genre, centered on quotidian plot and marginality.

In the past, there was always a clear delineation between fiction and the news or fiction and documentary film. Today, however, elements of crossover and hybridization it can be observed in most formats: reality and fiction, public and private, are intermingled. Life itself seeps into fictional accounts, approaching the eternal comedy. Digital formats permit the multiplication of stories and the democratisation of productions. They create a true amalgam of new and old hybrid products, such that comedy also infuses the non-fiction content. Social change is convincingly reflected in the stories that each collective elaborates and consumes. Today, without question, audiovisual stories offer a clear, in-depth analysis of all the social transformations in which we currently find ourselves immersed, therefore this chapter offers an exploration of the novel formats that are extended into the stories that are told on television and on the internet.

The brain-derived neurotrophic factor (BDNF) gene may influence eating behavior, body weight and cognitive impairments. We aimed to investigate whether BDNF genetic variability may affect anthropometric and psychological parameters in patients with anorexia or bulimia nervosa (AN, BN) and/or modulate the risk for the disorder. A total of 169 unrelated female patients and 312 healthy controls were genotyped for two common BDNF single-nucleotide polymorphisms (SNPs), Val66Met and C-270T, and several selected tag-SNPs. Associated personality characteristics and psychopathological symptoms were assessed by the EDI-2 and SCL-90R inventories, respectively. No single SNP or haplotype played a relevant role in the risk for AN or BN. The rs16917237 TT genotype was significantly associated with increased weight (74.63 ± 16.58 vs. 57.93 ± 13.02) and body mass index (28.94 ± 6.22 vs. 22.23 ± 4.77) in the BN group after correcting for multiple testing. Haplotype analyses using a sliding window approach with three adjacent SNPs produced four loci of interest. Locus 3 (rs10835210/rs16917237/C-270T) showed a broad impact on the measured psychopathological symptoms. Haplotypes CGC and CGT in this locus correlated with scores in all three scales of the SCL-90R inventory, both in AN and BN patients. In contrast, the results of the EDI-2 inventory were largely unaffected. These preliminary results suggest that variability in the BDNF gene locus may contribute to anthropometric characteristics and also psychopathological symptoms that are common but not exclusive of ED patients.

Dopamine neuronal functions make polymorphisms in dopaminergic pathways good candidates for playing a relevant role in anorexia nervosa (AN) and related psychopathological features. We have analyzed the effect of 8 polymorphisms in genes coding for dopamine receptors (DRD2, DRD3, and DRD4), transporters (DAT1) and metabolizing enzymes (COMT) in 78 women with AN and 186 control subjects. Associated psychopathological characteristics in patients with AN were assessed by the Eating Disorders Inventory Test-2 and SCL-90R self-reported questionnaires. The DRD4 variable number of tandem repeats (VNTR) 7R/7R and DRD4 -616CC genotypes were significantly associated with a greater risk for AN (odds ratio, 3.83; confidence interval, 1.05-13.98; P = 0.04; and odds ratio, 1.74; confidence interval, 1.01-2.97; P = 0.03, respectively). The analysis of physiological parameters in the patients with AN revealed that the short allele of a 120-base pair tandem repeat in the promoter region of the DRD4 gene was associated with higher weight (48.35 ± 6.79 vs 43.95 ± 5.78 kg; Bonferroni, P < 0.05), whereas the DRD4 -521TT genotype was associated with significantly higher body mass index (17.29 ± 2.25 vs 18.13 ± 2.41 kg/m2; Bonferroni, P < 0.05). The DRD4 C-616G and DAT1 VNTR polymorphisms correlated with several psychopathological features in patients with AN. Carriers of the mutant homozygous genotypes scored higher in all but one of the Eating Disorders Inventory Test-2 subscales. After correction for multiple testing, differences in Asceticism scores between DAT1 VNTR genotypes, as well as differences in Drive for Thinness and Body Dissatisfaction between C-616G genotypes remained significant (P < 0.05). The results show that certain genetic alterations in the dopamine pathways are able to modify the risk for AN as well as modulate psychopathological features that are often coupled to this disorder.

Genetics variants in the NEGR1 gene, strongly expressed in the brain, have been reported to affect the neuronal control of food intake therefore inducing obesity. With the same rationale, we hypothesized that this genetic variability may be associated with psychological traits commonly displayed by eating disorder (ED) patients and/or with the risk for the disorder. We analyzed 21 tag-single-nucleotide polymorphisms (SNPs) in the coding sequence and adjacent regions of the NEGR1 gene. A total of 169 ED patients (106 with anorexia nervosa (AN) and 63 with bulimia nervosa (BN)) and 312 healthy subjects were genotyped. Personality traits and general psychopathological symptoms were assessed by the Eating Disorders Inventory Test-2 (EDI-2) and Symptom Checklist 90 Revised inventories. None of the SNPs or haplotypes analyzed were associated with a greater risk of ED or correlated with anthropometric parameters. However, in patients with BN, four SNPs (rs12740031, rs10789322, rs6659202 and rs591540) correlated with the scores in Drive for Thinness (DT), Ineffectiveness (I) and Interoceptive Awareness (IA) (Bonferroni-P

2013 e55 (age, BMI and presence of amiodarone or metabolic inducers) and genetic variables (genetic variants in CYP2C9, VKORC1, CYP4F2 and APOE genes). Our objective was to test the performance of the EU-PACT algorithm in our cohort of patients. Assess the influence of factors included in our algorithm but not considered in the EU-PACT algorithm, specifically CYP4F2 and APOE variants, and concomitant use of metabolic inducers. Patients (or Materials) and Methods: We evaluated the performance of the EU-PACT algorithm in our cohort (HULP) using coefficient of determination (R 2 ). To investigate the contribution of vatiants in CYP4F2 and APOE, and concomitant metabolic inducers, we compared the real acenocoumarol doses of patients with these variables and those doses predicted by both models. A third model was built using as independent variables the dose predicted using EUPACT algorithm in our cohort, APOE and CYP4F2 variants, and concomitant metabolic inducers. Paired McNemar’s test was used to compare both R 2 . Results: Variability explained by the EU-PACT’s algorithm when applied to our (HULP) cohort was 44.4%. The real mean dose in patients with at least 1 of the evaluated variables (CYP4F2, APOE variants or metabolic inducers) was 19.3 (8.1) mg/week while the dose calculated by the HULP-algorithm was almost the same (19.0 [5.4] mg/week) and the EU-PACT’s model underestimates almost 3 mg (16.0 [6.2] mg/week), P < 0.001. The third model, evaluating the contribution of CYP4F2 and APOE variants and concomitant metabolic inducers, is able to increase the R 2 from a 44.4% observed with the EU-PACT algorithm to 47.5% (P < 0.05). Conclusion: EU-PACT shows a reasonable performance in an independent cohort with VTD. Inclusion of other known genes involved in high dose requirements as CYP4F2 and ApoE and enzyme inducer drugs, all included in HULP algorithm, seems to improve prediction in acenocoumarol dosing. Disclosure of Interest: None declared.

This article is the result of a study on self-representation of the image of Andalusia and the Andalusian people based on fictional production shown via the Internet. The Andalusian audiovisual scene has changed dramatically in the last two decades and the people of Andalusia are beginning to tell their own stories. Consequently, it is important to determine if the traditional stereotypes consolidated for centuries in literature and film are still being portrayed. With that objective in mind, the study uses a qualitative method that features a textual analysis based on the configuration of a series of variables representative of the stereotyped image of the Andalusian people. El artículo es el resultado de una investigación sobre la autorrepresentación de la imagen de Andalucía y de los andaluces a partir de la producción de ficción emitida a través de Internet. El panorama audiovisual andaluz ha cambiado radicalmente en las dos últimas décadas favoreciendo la producción independiente. Los andaluces empiezan a relatarse a sí mismos por lo que resulta pertinente investigar si se siguen manifestando los tradicionales estereotipos que la literatura y el cine han consolidado durante siglos. Para ello se ha seguido una metodología cualitativa centrada en el análisis textual a partir de la configuración de una serie de variables representativas de la imagen estereotipada del andaluz. O artigo é o resultado de uma pesquisa sobre a autorrepresentação da imagem da Andaluzia e dos andaluzes a partir da produção de ficção emitida por meio da internet. O panorama audiovisual andaluz tem mudado radicalmente nas duas últimas décadas favorecendo a produção independente. Os andaluzes começam a relatar a si mesmos, razão pela qual se torna pertinente pesquisar se se seguem manifestando os tradicionais estereótipos que a literatura e o cinema consolidaram durante séculos. Para isso, seguiue uma metodologia qualitativa centrada na análise textual a partir da configuração de uma série de variáveis representativas da imagem estereotipada do andaluz.

This article presents the results of Photography Workshops for Children between 4 and 12 years performed in Seville (Spain) through sessions with the aim of developing early age, the ability to understand and produce photographic images recognizing them a privileged means of artistic expression, communication and information. Experience has shown that children are able to internalize basic concepts such as planes, angles, perspective,and composition sequences. They also develop their ability to perform framing, selecting motifs, watch the lighting etc. Thephotography proved to be also a powerful tool for approximation of children to various cultural events. O artigo apresenta os resultados das Oficinas de Fotografia para crianças entre 4 e 12 anos, realizadas em Sevilha (Espanha), através de sessões que tinham por objetivo desenvolver nas crianças, desde tenra idade, a capacidade de compreender e produzir imagens fotográficas, reconhecendo nelas um meio privilegiado de expressão artística, comunicação e informação. A experiência demonstrou que as crianças são capazes de interiorizar noções básicas sobre planos, ângulos, perspectiva, sequências e composição. Também desenvolveram habilidade para realizar enquadramentos, selecionar temas, observar a iluminação etc. A fotografia demonstrou ser também uma eficaz ferramenta de aproximação das crianças a diversas manifestações culturais.

O artigo apresenta os resultados das Oficinas de Fotografia para crianças entre 4 e 12 anos, realizadas em Sevilha (Espanha), através de sessões que tinham por objetivo desenvolver nas crianças, desde tenra idade, a capacidade de compreender e produzir imagens fotográficas, reconhecendo nelas um meio privilegiado de expressão artística, comunicação e informação. A experiência demonstrou que as crianças são capazes de interiorizar noções básicas sobre planos, ângulos, perspectiva, sequências e composição. Também desenvolveram habilidade para realizar enquadramentos, selecionar temas, observar a iluminação etc. A fotografia demonstrou ser também uma eficaz ferramenta de aproximação das crianças a diversas manifestações culturais. This article presents the results of Photography Workshops for Children between 4 and 12 years performed in Seville (Spain) through sessions with the aim of developing early age, the ability to understand and produce photographic images recognizing them a privileged means of artistic expression, communication and information. Experience has shown that children are able to internalize basic concepts such as planes, angles, perspective, and composition sequences. They also develop their ability to perform framing, selecting motifs, watch the lighting etc. The photography proved to be also a powerful tool for approximation of children to various cultural events.

espanolLa actualidad informativa, organizada en espacios cerrados durante la paleotelevision, se introduce en programas ficcionales a partir de los 90. En el siglo XXI, con la hipertelevision, tambien el entretenimiento se mezclara con contenidos periodisticos estableciendo formatos diferentes. Por un lado, el infoshow consigue que el discurso informativo se nutra de claves estilisticas y de contenido provenientes de programas ficcionales y de entretenimiento. Por otro, el infoentertaiment, coloca tematicas informativas en formatos de entretenimiento. El presente articulo se plantea un analisis de la nueva creatividad dentro del genero del entretenimiento, asi como la constitucion de una tipologia de modelos. EnglishThe information of the news, organized in closed spaces during the paleotelevision, is gradually introduced in fictional programs since the nineties. However, in the 21st century, with the hypertelevision, entertainment programs and informational contents converge in new formats. On the one hand, the infoshow allows the informative discourse to absorb stylistic and content features from entertainment and fictional programs. On the other, the infoentertainment introduces informational topics in entertainment formats. The present article offers an analysis of the new creativity in the genre of the entertainment as well as the organization of a typology of models.

This article seeks to deepen, on the one hand, into the development of new marketing strategies using TV as platform and aimed at promoting consumption among young girls. We will first look into the case of such companies as Disney, which have re-released public leading characters of all-time stories for the infant female public with great commercial success, now united as a generic sisterhood of «princesses». On the other hand, we will also study other characters that television and other AV outlets have made known and the elements offered in this kind of products geared towards reinforcing consumption by means of promoting sexual and cultural stereotypes. La comunicación que se propone pretende ahondar, por una parte, en el desarrollo de nuevas estrategias de mercado orientadas a fomentar el consumo en las niñas y que utilizan la televisión como plataforma. En primer término, se profundizará en el caso de empresas como Disney, que han relanzado para el público infantil femenino, con un gran éxito comercial, las protagonistas de los cuentos de siempre unidas en la hermandad genérica de las «princesas». También se estudiarán otras figuras que la televisión y otros soportes audiovisuales han hecho conocidas y los elementos que se ofrecen en este tipo de productos que orientan y refuerzan el consumo fomentando a su vez estereotipos sexuales y culturales.

Las representaciones dramáticas y espectaculares del siglo XXI no pueden circunscribirse a una sala de teatro tradicional, ni aislarse completamente de otros modos de representación que han ido naciendo cuando el mundo del teatro ya gozaba de una madurez y una resistencia invulnerable. Por ello este artículo pretende rastrear otras formas espectaculares que en la era de la informática permiten seguir hablando de conceptos tan usados por el teatro tradicional como puesta en escena, directo, intercomunicación con el público, simulacro, ensayo e interpretación. Aunque para su desarrollo, la mayor parte de las veces, no exista ni telón ni patio de butacas. The spectacular dramatic representations of century XXI cannot be confined to a room of traditional theatre, nor be isolated completely of other ways of representation that have been being born when the world of the theatre or enjoyed a maturity and a invulnerable resistance. For that reason this research tries to track other spectacular forms that in the virtual era allow to continue speaking of concepts used by the traditional theatre like putting in scene, direct, intercommunication, public… Although for its development, most of the times, does not exist stalls.

El presente artículo propone esbozar un panorama de las representaciones de adolescentes en el cine español durante los gobiernos socialistas a partir de 1982 y hasta 1998. Tras la reivindicación de la libertad propia de la Transición, en que el adolescente tenía a menudo la autonomía de un adulto, el cuerpo adolescente del período posterior traduce más bien en la pantalla un abanico de deseos frustrados. También es un cuerpo malherido por los excesos de todo tipo, el consumo en abuso de drogas o imágenes, quizás un fantasma más que un cuerpo dado que nunca llega a figurar la revolución que es (o que debería ser) la adolescencia.