Representaciones de la violencia en el cine mexicano premiado en festivales internacionales 2000-2020

En-Claves del Pensamiento 
N° 32, enero-junio 2023. https://doi.org/10.46530/ecdp.v0i33.539  

Autor: 

1. Bañuelos-Capistrán, Jacob; Tecnológico de Monterrey, México; jcapis@tec.mx; https://orcid.org/0000-0003-1919-7088
2. Olmedo-Estrada, Juan Carlos; Tecnológico de Monterrey, México; jolmedo@tec.mx; https://orcid.org/0000-0002-4983-5856

Keywords: Violence, Mexico, mexican cinema, award-winning Mexican films, film festivals. 

Abstract: The main objective of this research is to identify and analyze the themes of Mexican cinema awarded at nodal international festivals between 2000 and 2020. The study uses a mixed methodology that combines a longitudinal search for the creation of a historical database on award-winning Mexican films at international festivals. For two decades. The quantitative methodology is used to know the number of internationally awarded Mexican films, as well as their evolution over time and their themes during the decades from 2000 to 2020, through the construction of a database based on reports and databases, specialized data. The theoretical-methodological analysis of cinematographic discourses is carried out based on the concepts of violence developed by Galtung, Foucault, Arendt, Butler, Magnani, Han, as well as from Williams’s concept of structure of feeling. The study reveals that 81% of the awards received by Mexican cinematography at international festivals deal with a type of structural, direct or cultural violence, expressed through state violence, poverty and inequality, gender violence, domestic violence and the war on drugs. The Mexican cinema that has participated during the last two decades in nodal international festivals, has experienced a progressive tendency to deal with issues related to violence in Mexico and it is foreseeable that this trend will continue. 

Resumen: La presente investigación tiene como objetivo central identificar y analizar las temáticas del cine mexicano premiado en festivales internacionales nodales entre 2000 y 2020. El estudio emplea una metodología mixta que combina una búsqueda longitudinal para la conformación de una base de datos histórica sobre películas premiadas mexicanas en festivales internacionales durante dos décadas. La metodología cuantitativa se usa para conocer el número de películas mexicanas premiadas internacionalmente, así como su evolución en el tiempo y sus temáticas durante las décadas de 2000 a 2020, a través de la construcción de una base de datos con fundamento en informes y bases de datos especializadas. El análisis teórico-metodológico de los discursos cinematográficos se realiza con base en los conceptos sobre la violencia desarrollados por Galtung, Foucault, Arendt, Butler, Magnani, Han, así como desde el concepto de estructura del sentimiento de Williams. El estudio revela que un 81% de los premios recibidos por la cinematografía mexicana en festivales internacionales trata sobre un tipo de violencia estructural, directa o cultural, expresadas a través de la violencia de Estado, pobreza y desigualdad, violencia de género, violencia intrafamiliar y la guerra contra el narcotráfico. El cine mexicano que ha participado durante las últimas dos décadas en festivales internacionales nodales, ha experimentado una tendencia progresiva a tratar temas relacionados con la violencia en México y es previsible que siga esta tendencia. 

Idioma: español. 

Publicación: 02 de enero del 2023.  

Volumen: En-claves del Pensamiento, N° 32, enero-junio 2023.  

Enlace Permanente

'I am them and they are me': the transnational body as collective in Iranian women's cinema

Transnational Screens Volume 14, 2023 - Issue 2: Transnational Feminist Approaches to Film and Media from the Middle East and North Africa. https://doi.org/10.1080/25785273.2023.2231776 

Autor: Khosroshahi, Zahra; Film and Television Studies, University of Glasgow, Glasgow,UK; zahra.khosroshahi@glasgow.ac.uk; Linkedin 

Keywords: Transnational cinema, women’s filmmaking, transnational feminism, Iranian cinema, feminist filmmaking. 

Resumen: Women’s bodies have often been used as metonymic, standing for the nation and its ideologies. In exploring both narrative and documentary style filmmaking, I turn to two films: Gilaneh (2006) by Rakhshan Banietemad and A Moon for my Father (2019) co-directed by Mania Akbari and Douglas White. In Gilaneh, Banietemad codifies the maternal to symbolise the nation, but only to subvert and critique the state’s neglect of the forgotten mother. By imagining war beyond the borders of Iran, Banietemad also imagines the mother figure across the nation, giving her international significance. In A Moon for my Father Akbari features her own body and battle with breast cancer. Even in the film’s most intimate moments, Akabri reflects on and connects herself to the women’s movement in Iran. In their conceptualisation of women’s bodies, I argue that both Banietemad and Akbari extend the singular body beyond its national boundaries, calling for and insisting upon an intersectional and collective feminism.

Idioma: Inglés

Publicación: Published online: 17 Jul 2023

Volumen: Transnational Screens, Vol 14, 2023 - Issue 2: Transnational Feminist Approaches to Film and Media from the Middle East and North Africa. 

Enlace Permanente

Exploiting Ambiguity: Murder! and the Meanings of Cross-Dressing in Interwar British Cinema

Journal of British Cinema and Television Vol 17, N°3 2020; http://doi.org/10.3366/jbctv.2020.0530

Autor: Chris O'Rourke. University of Warwick: Coventry, Warwickshire, GB https://orcid.org/0000-0001-6405-4874

Keywords: Alfred Hitchcock, British film, cross-dressing, queer film, queer history 

Abstract: The crime film Murder! (1930), directed by Alfred Hitchcock for British International Pictures, and based on the novel Enter Sir John (1929) by Clemence Dane and Helen Simpson, has long been cited in debates about the treatment of queer sexuality in Hitchcock’s films. Central to these debates is the character of Handel Fane and the depiction of his cross-dressed appearances as a theatre and circus performer, which many critics have understood as a coded reference to homosexuality. This article explores such critical interpretations by situating Murder! more firmly in its historical context. In particular, it examines Fane’s cross-dressed performances in relation to other cultural representations of men’s cross-dressing in interwar Britain. These include examples from other British and American films, stories in the popular press and the publicity surrounding the aerial performer and female impersonator Barbette (Vander Clyde). The article argues that Murder! reflects and exploits a broader fascination with gender ambiguity in British popular culture, and that it anticipates the more insistent vilification of queer men in the decades after the Second World War. 

Idioma: Inglés 

Publicación: agosto del 2020.

Volumen: Journal of British cinema and television, 2020-07, Vol.17 (3), p.289-312

Enlace Permanente

Interrogating Patriarchy: Transgressive Discourses of 'F-Rated' Independent Hindi Films

BioScope: South Asian Screen Studies Vol 11, Issue 1 https://doi.org/10.1177/0974927620935236

Autor: Devasundaram, Ashvin-Immanuel; Queen Mary University, London, UK;  a.devasundaram@qmul.ac.uk; https://orcid.org/0000-0002-2619-1824 

Keywords: Bollywood, F-Rating, Hindi films, independent Indian cinema, gender, patriarchy

Abstract: Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new subgenre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.

Idioma: Inglés 

Publicación: 15 de septiembre del 2020 

Volumen: BioScope: South Asian Screen Studies, Volume 11, Issue 1. 

Enlace Permanente

Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films.

Communication & Society Vol 34 No 3 (2021) https://doi.org/10.15581/003.34.3.47-60

Autor: 

1. Selva-Ruiz, David; Universidad de Cádiz; david.selva@uca.es; https://orcid.org/0000-0002-9251-0045
2. Fénix-Pina, Desirée; Universidad de Cádiz; desireefenixp@gmail.com; https://orcid.org/0000-0001-8525-615X 

Keywords: Music video, cinema, music industry, popular culture, advertising

Abstract: The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern. 

Idioma: Inglés. 

Publicación: 31 de mayo del 2021. 

Volumen: Communication & Society Vol 34 No 3 (2021).  

Enlace Permanente. 

Performing journalism. Making sense of ethical practice within local interloper media.

Journalism 2023 Volume 24, Issue 12; https://doi.org/10.1177/14648849221131626

Autor: 

1. Jaana Hujanen; Swedish School of Social Science, University of Helsinki, Finland; jaana.hujanen@helsinki.f; https://orcid.org/0000-0003-4375-8092  
2. Juho Ruotsalainen; Futures Research Centre, University of Turku, Finland; https://orcid.org/0000-0003-3673-1983
3. Mikko Grönlund; Brahea Centre, University of Turku, Finland;  https://orcid.org/0000-0001-7148-2340
4. Katja Lehtisaari; Department of Communication, University of Tampere, Finland https://orcid.org/0000-0003-2234-240X
5. Viljami Vaarala; Swedish School of Social Science, University of Helsinki, Finland; https://orcid.org/0000-0002-7990-4920

Keywords: Boundaries, interlopers, local journalism, communications, media

Abstract: This paper explores the blurring boundaries between local journalism, strategic and marketing communications and civic information. The study at hand produces new knowledge regarding the conceptions and practices that are emerging in the middle ground between local journalism and communications. The data consist of 10 thematic in-depth interviews with writers, owners and other key personnel from Finnish local communications operations applying journalistic practices in their content production, conceptualised here as interloper media practitioners. By applying the concept of boundary work, the study sheds light on the discursive contest over the forms and vocabulary of journalism and news media. The study also explores the ethical guidelines interloper media apply and how their representatives reflect on their ethical code of practice. The results are condensed into five rationales the practitioners use to justify the legitimacy of the interloper media outlets and the use of journalistic methods in strategic or commercial communications and civic information. The practitioners experience the boundaries between journalism and various types of communications as blurring. They borrow and apply journalistic styles and ethical guidelines selectively to lend their media attractivity and credibility. They face ethical conflicts in their work particularly regarding their relationship to power holders and decision-makers. Yet a culture of profound ethical reflection is markedly absent from their accounts.

Idioma: Inglés. 

Publicación: 04 de octubre del 2022 

Volumen: Journalism 2023 Volume 24, Issue 12 

Enlace Permanente 

De primera dama a candidata presidencial: masculinización en la cobertura periodística de mujeres políticas.

CUADERNOS.INFO Nº 47 (2020) https://doi.org/10.7764/cdi.47.1868

Autor: Álvarez-Monsiváis, Edrei; Universidad Autonoma de Nuevo Leon, Monterrey, México; https://orcid.org/0000-0003-2779-2012

Keywords: Personalidad política, agenda política, campañas presidenciales, primeras damas, presidentas, comunicación política, estudios de género. 

Abstract: The study presents cases of presidential candidates who were previously first ladies: Cristina Fernández (Argentina), Hillary Clinton (USA) and Margarita Zavala (Mexico). The objective was to register, in national newspapers (La Nación, Página/12, The Wall Street Journal, The New York Times, Reforma and La Jornada) which were the attributes of personality, thematic agenda and tone in the news emerged during both periods. Feminine (empathy, honesty, celebrity) and masculine (leadership, intelligence, toughness) personality traits were deductively established, as well as soft or feminine topics (culture, health, education) and hard or masculine topics (economy, security and corruption, foreign policy). We found a masculinization of the political personality and thematic agenda during the candidacy, not found significantly during their status as First Ladies. We detected that the tone of the news was negative when the female candidates were presented from a female personality and masculine topics. Among the conclusions we can highlight that women who run for presidential positions are forced to be more strategic in their political actions to be seen by citizens as capable of solving problems that are not culturally associated with femininity. The investigation concludes that the press placed the political woman in a paradox between being covered journalistically as women or as politicians, making them both eligible and ineligible for the presidency.

Resumen: El estudio presenta casos de candidatas presidenciales que anteriormente fueron primeras damas: Cristina Fernández (Argentina), Hillary Clinton (Estados Unidos) y Margarita Zavala (México). El objetivo fue registrar, en diarios nacionales (La Nación, Página/12, The Wall Street Journal, The New York Times, Reforma y La Jornada) cuáles fueron los atributos de personalidad, agenda temática y tonalidad presentados en las noticias surgidas durante ambos periodos políticos. Para su estudio, se establecieron de forma deductiva rasgos de personalidad femeninos (empatía, honestidad, celebridad) y masculinos (liderazgo, inteligencia, dureza), así como tópicos de corte suave o femenino (cultura, salud, educación) y duro o masculino (economía, seguridad y corrupción, política exterior). Entre los hallazgos se encontró una masculinización de la personalidad política y agenda temática durante las candidaturas presidenciales, la cual no se registró de manera significativa durante los periodos de primera dama. Se detectó que el tono de las noticias era negativo cuando las candidatas fueron presentadas desde una personalidad femenina y tópicos de corte masculino. Entre las conclusiones se señala que las mujeres que se candidatean para puestos presidenciales se ven obligadas a ser más estratégicas en su actuar político para ser vistas por la ciudadanía como capaces de resolver problemáticas que culturalmente no se asocian con la feminidad. Además, se concluye que la prensa las ubicó en una paradoja entre ser cubiertas periodísticamente como mujeres o como políticas, al mismo tiempo elegibles e inelegibles para la presidencia.

Idioma: Español

Publicación: 20 de agosto del 2020 

Volumen: CUADERNOS.INFO Nº 47 (2020) 

Enlace Permanente