La Modernidad, entendida como el período que propuso un superhombre, un titán humanista, debido a la fe en la razón y la búsqueda objetiva de la verdad, hoy se muestra en crisis, pues todo se percibe confuso y enrevesado. Si la figura del héroe ha estado asociada tradicionalmente a un tiempo espléndido, irrepetible; si es el ideal paradigmático que sirve de inspiración para el futuro -hay que imitarlo, hay que alcanzarlo-; si el héroe pertenece a la instancia de los vencedores; si los hombres y las artes lo subliman e instalan en la comodidad de la gloria, desde donde gobierna como una paternidad regente; si su imagen circula como una estampa de dicha que construimos e interiorizamos a través de distintos relatos para encomendarnos a sus virtudes, cabe preguntarse ¿qué ha pasado con el héroe de esta, nuestra modernidad? Parece haber surgido otro paradigma, el antihéroe.

Mucho se ha escrito acerca de la gran calidad del nuevo drama al que asistimos semanalmente por televisión. Sin embargo, resulta importante comprender su  desarrollo dentro de la transformación del sector audiovisual para concebirlo no como un hipo, una coincidencia o el resultado feliz de la convergencia, sino como la evolución lógica de una narrativa que se ha forjado sin perder de vista su proximidad con la audiencia.

Se abordan los inicios del policial en la literatura y su continuación en la pantalla chica. La dinámica de narración de un género que se reinventa a partir de sus nexos con la cultura popular. En síntesis, es un ensayo orientado a recuperar la historia del género policial desde su desarrollo auroral en la literatura de Edgard Allan Poe hasta su trasvase a series televisivas como Columbo, Kojak, Miami Vice, Cagney & Lacey, CSI, NYPD Blue o The Wire. El énfasis está puesto en el análisis del comportamiento de los relatos policiales con relación a los cambios de época, los contextos sociales y los vínculos que este género ha cultivado con la cultura popular a lo largo de su historia.

The text proposes some precisions around the so-called transmedia cinema in the frame of multiplatform narratives. For this reason, the creative role of audiences and their repercussion in the development of stories, as well as the logic behind the principles of multiplicity and expansion, are especially disaggregated. Finally, in the light of recent productions, the author describes some practices and uses of technology that would bring cinema to a transmedia experience.

If the hero figure has been traditionally associated with better times, a time that won’t come back; if he’s the pragmatic ideal that inspires the future, he must be imitated, he must be reached; if the hero belongs to the victors stance; if men and arts sublime and put him in comfortable glory; if his image goes around as a figure of joy that we build and internalize through a variety of stories in which we devote ourselves to his virtues: ¿What have happened with this modernity hero? This text attempts to investigate the time and characteristics of these characters of modernity that are classified as nonheroic, but nevertheless have won our regard and today wear the same golden band of the famous.

Mucho se ha escrito acerca de la gran calidad del nuevo drama al que asistimos semanalmente por televisión. Sin embargo, resulta importante comprender su  desarrollo dentro de la transformación del sector audiovisual para concebirlo no como un hipo, una coincidencia o el resultado feliz de la convergencia, sino como la evolución lógica de una narrativa que se ha forjado sin perder de vista su proximidad con la audiencia.

Se abordan los inicios del policial en la literatura y su continuación en la pantalla chica. La dinámica de narración de un género que se reinventa a partir de sus nexos con la cultura popular. En síntesis, es un ensayo orientado a recuperar la historia del género policial desde su desarrollo auroral en la literatura de Edgard Allan Poe hasta su trasvase a series televisivas como Columbo, Kojak, Miami Vice, Cagney & Lacey, CSI, NYPD Blue o The Wire. El énfasis está puesto en el análisis del comportamiento de los relatos policiales con relación a los cambios de época, los contextos sociales y los vínculos que este género ha cultivado con la cultura popular a lo largo de su historia.

The text proposes some precisions around the so-called transmedia cinema in the frame of multiplatform narratives. For this reason, the creative role of audiences and their repercussion in the development of stories, as well as the logic behind the principles of multiplicity and expansion, are especially disaggregated. Finally, in the light of recent productions, the author describes some practices and uses of technology that would bring cinema to a transmedia experience.

If the hero figure has been traditionally associated with better times, a time that won’t come back; if he’s the pragmatic ideal that inspires the future, he must be imitated, he must be reached; if the hero belongs to the victors stance; if men and arts sublime and put him in comfortable glory; if his image goes around as a figure of joy that we build and internalize through a variety of stories in which we devote ourselves to his virtues: ¿What have happened with this modernity hero? This text attempts to investigate the time and characteristics of these characters of modernity that are classified as nonheroic, but nevertheless have won our regard and today wear the same golden band of the famous.

The communication strategies implemented by the museums after the COVID-19 health crisis implied the closure of the institutions to the public. Hence the need to contrast how Ecuador, Spain and Peru acted by highlighting the culture and heritage available to the population. The exploratory study was approached through mixed content analysis. The actions implemented by museums in the context of the pandemic were classified and they categorized, taking into account the type of content and resources deployed to reach the public. Finally, focus was placed on identifying UNESCO’s strategic areas of action. The supranational trend registered changes depending on the situation of each country. In this sense, it was noted that the actions deployed from Spain were in line with international reports. From Ecuador and Peru, the ‘Digital Activities’ and the ‘Activities on Social Networks’ ...

This article explores the Omegaverse, a fictional universe created and developed by fans and amateur writers. Despite being born far from business logic, it has drawn the interest of the editorial industry, which now profits from its popularity. The analysis pays special attention to the Omegaverse’s formal features, for which it reconstructs its evolution from its beginnings in 2009 until 2021, both online and in print. The results confirm that its development has resulted in the birth of a narrative matrix of its own, inscribed the fantasy genre, which facilitates its dissemination and serves as a guide to create and promote its followers’ expectations. Fanfictions have in the Omegaverse a robust example of how their stories can be as captivating as those produced by the industry.

The communication strategies implemented by the museums after the COVID-19 health crisis implied the closure of the institutions to the public. Hence the need to contrast how Ecuador, Spain and Peru acted by highlighting the culture and heritage available to the population. The exploratory study was approached through mixed content analysis. The actions implemented by museums in the context of the pandemic were classified and they categorized, taking into account the type of content and resources deployed to reach the public. Finally, focus was placed on identifying UNESCO’s strategic areas of action. The supranational trend registered changes depending on the situation of each country. In this sense, it was noted that the actions deployed from Spain were in line with international reports. From Ecuador and Peru, the ‘Digital Activities’ and the ‘Activities on Social Networks’ ...

This article explores the Omegaverse, a fictional universe created and developed by fans and amateur writers. Despite being born far from business logic, it has drawn the interest of the editorial industry, which now profits from its popularity. The analysis pays special attention to the Omegaverse’s formal features, for which it reconstructs its evolution from its beginnings in 2009 until 2021, both online and in print. The results confirm that its development has resulted in the birth of a narrative matrix of its own, inscribed the fantasy genre, which facilitates its dissemination and serves as a guide to create and promote its followers’ expectations. Fanfictions have in the Omegaverse a robust example of how their stories can be as captivating as those produced by the industry.