Nowadays, it surprises no one that the field of Communication Studies is inherently multidisciplinary. The past fifty years testify to the numerous trends and changes that have compelled communication researchers to seek new theoretical frameworks and paradigms due to transformations within the scientific field itself and the urgencies of civil society. Not long ago, Oliver et al. (2024), writing for Human Communication Research, described our era as marked by «accelerated technological changes, transformations in political discourse, evolutions in interpersonal communication, and a greater appreciation for the importance of diversity and inclusion» (p. 143). Amidst this circumstances, academic journals have themission to offer empirical studies that reflect the latest developments in the field (whether it be big data, artificial intelligence, disinformation, platform capitalisms, etc....

El presente trabajo analiza el proceso de tematización fílmica de la identidad y el territorio en los largometrajes de ficción del cineasta brasileño Kleber Mendonça Filho, que incluyen El sonido alrededor (2012), Doña Clara (2016) y Bacurau (2019), este último codirigido con Juliano Dornelles. A partir de un enfoque cualitativo que retoma elementos del análisis fílmico y de la Escuela Semiótica de París, se indaga en los recursos y estrategias del discurso cinematográfico que manifiestan y vinculan los conceptos abstractos de identidad y territorialidad con el pasado de los personajes a lo largo de los filmes. Los resultados identifican elementos estilísticos concretos tales como el uso de material de archivo, el contracampo y la subjetivación de la mirada como recursos clave de estas estrategias que permiten asociar temáticamente la identidad de ciertos personajes con lo...

Peruvian film production has witnessed a multiplicity of proposals and new voices since the turning of the century, but the academic production of Film Studies continues to lack a comprehensive review of what is being studied, who is doing the research, where it is being conducted, and where these works can be read. This paper aimed to identify the main characteristics of the field of Film Studies in Peru between 2016 and 2023. Using a quantitative approach, a systematic literature review was conducted based on the PRISMA 2020 protocol, with Scopus and Web of Science databases as references. The data of the registers was processed through bibliometric indicators. The final sample consisted of 46 records that met the selection criteria. The results point to a considerable increase in film studies since the mid-2010s, as well as emerging research trends inspired by Humanities such as aesth...

This article proposes a semiotic-structural analysis of Quentin Tarantino's film The Hateful Eight (2015). Our work incorporates elements from filmic narratology, in particular the idea of ​​Emily Anderson's unreliable narrator, which highlights the possibility of an overall unreliable discourse. Our analysis shows that the film, both at the level of the narrative and the discourse itself, presents a series of manipulative simulations that allow its actants to organize the cognitive dimension of knowledge and belief to their advantage. This reveals a device that not only allows characters to deceive others with their speeches, but also the enunciator which operates at a higher level. Therefore, the film transforms underreporting and misreporting into its key tools.

This paper analyzes the process of filmic thematization present in the movie Neighboring Sounds (2012) by the Brazilian director Kleber Mendonça Filho. The objective was to identify the different elements of the mise-en-scène and the narrative features that continuously express the thematic meanings of territoriality and memory, establishing them as central axes in the construction of the story’s characters. Following a qualitative approach, the study incorporates textual analysis as it´s primary methodology to pinpoint the main formal elements and semantic associations of audiovisual language. It is concluded that the movie employs a series of narrative strategies and specific aesthetic elements to associate the presence of certain characters with different spaces and temporalities of the diegesis, marking a semantic relationship between them. Thus, the film turns spatiality and th...

This thesis analyzes Alejandro González Iñárritu´s film Birdman (2014) employing elements of film narratology as well as the theorical premises of the tensive hipotesis, primarily the semiotic of the event formulated by Claude Zilberberg as a critical continuation of the greimasian structural project. We postulate that (1) the distribution of intensity in the single tracking shot, (2) the incorporation of the space outside of the frame, and (3) what we have called the point-of-view-game, the film creates a discourse in which these three elements are responsible for controlling the tensive modulations, capable of operating both in the narrative and the discursive levels.

Nowadays, it surprises no one that the field of Communication Studies is inherently multidisciplinary. The past fifty years testify to the numerous trends and changes that have compelled communication researchers to seek new theoretical frameworks and paradigms due to transformations within the scientific field itself and the urgencies of civil society. Not long ago, Oliver et al. (2024), writing for Human Communication Research, described our era as marked by «accelerated technological changes, transformations in political discourse, evolutions in interpersonal communication, and a greater appreciation for the importance of diversity and inclusion» (p. 143). Amidst this circumstances, academic journals have themission to offer empirical studies that reflect the latest developments in the field (whether it be big data, artificial intelligence, disinformation, platform capitalisms, etc....

As the field of communication studies progresses and specializes, the focus seems to shift from the analysis of media content, as was common in the latter half of the past century, to the undeniable presence and impact of media in our lives, their logic, and strategies in shaping the social, economic, educational, and political world (Couldry & Hepp, 2018; Merrill et al., 2020). However, if the studies compiled in this issue of Correspondencias & Análisis demonstrate anything, it is the importance and relevance of analyzing messages and their content, regardless of whether a quantitative or qualitative perspective is chosen.

The articles presented in Issue 21 of Correspondencias & Análisis bring together professors and researchers from various parts of Latin America (Peru, Chile, Argentina, andColombia), once again showcasing the vast diversity that exists within media studies in the region. However, they also reflect something else, which is crucial for this relatively young field of research: the need to continue empirical studies in tandem with advances in communication theory–an increasingly common concern among a significant number of international journals.

El presente artículo propone un análisis semiótico-estructural de la película de Quentin Tarantino Los ocho más odiados (The Hateful Eight, 2015). Nuestro trabajo incorpora elementos provenientes de la narratología fílmica, en particular la idea del unreliable narrator de Emily Anderson, quien plantea la posibilidad de un narrador no confiable al interior del discurso. El análisis demuestra que el filme, tanto al nivel del relato como del discurso, presenta una serie de simulacros manipulatorios que les permiten a sus actantes organizar la dimensión cognitiva del saber y el creer. Se revela un dispositivo que no solo permite a los personajes engañar a otros con sus discursos, sino también al enunciador que opera en un nivel superior. De este modo, el filme convierte la subinformación y la contrainformación en sus instrumentos clave.

Cet article reprend la structure des modes sémiotiques, définis selon la hiérarchie élémentaire postulée par Claude Zilberberg, permettant de concevoir l’événement et l’exercice du point de vue de l’hypothèse tensive. À partir d’une analyse cinématographique spécifique, il pose l’existence d’une autre modalité : le suspens, sans pour autant prétendre réaliser le transfert d’une structure binaire à une structure tertiaire. On met également en évidence l’urgence de reconnaître, d’une part, le spectateur comme un corps propre, axe pathémico-sémiotique de l’expérience cinématographique et, de l’autre, la narration comme un processus à la fois discursif et esthésique.

This article proposes a semiotic-structural analysis of Quentin Tarantino's film The Hateful Eight (2015). Our work incorporates elements from filmic narratology, in particular the idea of ​​Emily Anderson's unreliable narrator, which highlights the possibility of an overall unreliable discourse. Our analysis shows that the film, both at the level of the narrative and the discourse itself, presents a series of manipulative simulations that allow its actants to organize the cognitive dimension of knowledge and belief to their advantage. This reveals a device that not only allows characters to deceive others with their speeches, but also the enunciator which operates at a higher level. Therefore, the film transforms underreporting and misreporting into its key tools.

This paper analyzes the process of filmic thematization present in the movie Neighboring Sounds (2012) by the Brazilian director Kleber Mendonça Filho. The objective was to identify the different elements of the mise-en-scène and the narrative features that continuously express the thematic meanings of territoriality and memory, establishing them as central axes in the construction of the story’s characters. Following a qualitative approach, the study incorporates textual analysis as it´s primary methodology to pinpoint the main formal elements and semantic associations of audiovisual language. It is concluded that the movie employs a series of narrative strategies and specific aesthetic elements to associate the presence of certain characters with different spaces and temporalities of the diegesis, marking a semantic relationship between them. Thus, the film turns spatiality and th...

The objective of this paper is to describe and contrast the biophysical and anthropic aspects in two urban spaces adjacent to the Rímac River in the city of Lima: the Malecón de la Amistad, and the viewpoints of the old Reserved Zone project of the Rimac River. The approach is qualitative with a descriptive scope and the landscape analysis criteria of Castillo et al. (2014) to highlight the forms of use enabled by anthropic intervention in relation to the natural ecosystem. The results suggest that these spaces have been intervened to direct the movement of their visitors, but in both cases the material elements of the urban scene show a precarious integration between the biophysical and the anthropic, which reflects a contradictory interventionism that imposes and cancels various forms of use for visitors, exacerbating the spatial fragmentation.

The objective of this paper is to describe and contrast the biophysical and anthropic aspects in two urban spaces adjacent to the Rímac River in the city of Lima: the Malecón de la Amistad, and the viewpoints of the old Reserved Zone project of the Rimac River. The approach is qualitative with a descriptive scope and the landscape analysis criteria of Castillo et al. (2014) to highlight the forms of use enabled by anthropic intervention in relation to the natural ecosystem. The results suggest that these spaces have been intervened to direct the movement of their visitors, but in both cases the material elements of the urban scene show a precarious integration between the biophysical and the anthropic, which reflects a contradictory interventionism that imposes and cancels various forms of use for visitors, exacerbating the spatial fragmentation.

The objective of this paper is to describe and contrast the biophysical and anthropic aspects in two urban spaces adjacent to the Rímac River in the city of Lima: the Malecón de la Amistad, and the viewpoints of the old Reserved Zone project of the Rimac River. The approach is qualitative with a descriptive scope and the landscape analysis criteria of Castillo et al. (2014) to highlight the forms of use enabled by anthropic intervention in relation to the natural ecosystem. The results suggest that these spaces have been intervened to direct the movement of their visitors, but in both cases the material elements of the urban scene show a precarious integration between the biophysical and the anthropic, which reflects a contradictory interventionism that imposes and cancels various forms of use for visitors, exacerbating the spatial fragmentation.