In the nineties, popular press (also called prensa chicha) became in Peru an important presence in the communication sphere. During this period, this presence was linked to relations of clientelism and subordination formed with Fujimori’s government. Nevertheless, this presence remains important after all these years, even after many changes in government. Our research looks to describe from a semiotic perspective those enunciative characteristics forged and consolidated during that period. Our research aims to outline a description of enunciative strategies more than a content analysis, in order to establish the configuration of the reading contract in this press. We have followed a semiotic approach of enunciation understanding it as a representation: a represented enunciation. Through the analysis of the most read journals in this period (Ojo, Extra, and Ajá), we have established t...

This article proposes a critical regard on genre confronting this notion with Peruvian South Andean Cinema on the Armed conflict. We start by questioning genre notion, understood as a necessary condition in communicational practice between producers and audience. We are more interested in understanding how this notion points to a symbolic dispute from and among multiple agents involved in the cinematographic phenomenon. Then, we identify a characteristic that differences this cinema from hegemonic limeño cinema on armed conflict: genre hybridity. We found there a symbolic operation through which this cinema differs from Lima’s cinema and build its own identities.

Under Fujimori’s regime, Peruvian Press knew the explosion of Popular Press. This one had a very special relationship with Fujimori’s regime and his communication strategies. It could be seen through positive president representations and contenders defamation. Following a semio-pragmatic approach, this article underlines narrative and semantics constants present in media content through this press in their first page and put discursive strategies deployed in relation with reception practices.

Este trabajo no pretende abordar la serie Twin Peaks desde una perspectiva estética, por lo que los valores artísticos de la serie no serán sujeto de discusión. La serie nos interesa en tanto que objeto semiótico -objeto de sentido- y trataremos de ver a partir de este caso la posibilidad de poner en relación un análisis de las estrategias enunciativas, marco enunciativo en el que aparece la serie en tanto que objeto semiótico, y un análisis de la instancia de la recepción, momento en que más allá de las estrategias con las que se ha previsto a un espectador ideal existen espectadores reales que leen el texto de una manera determinada. Como se verá, entonces, pretendemos tender un lazo entre la semiótica y las llamadas teorías de la recepción. Considerados paradigmas teóricos distintos o hasta antagónicos, ello se debe a que en la mayoría de trabajos que ha planteado d...

This article proposes a critical regard on genre confronting this notion with Peruvian South Andean Cinema on the Armed conflict. We start by questioning genre notion, understood as a necessary condition in communicational practice between producers and audience. We are more interested in understanding how this notion points to a symbolic dispute from and among multiple agents involved in the cinematographic phenomenon. Then, we identify a characteristic that differences this cinema from hegemonic limeño cinema on armed conflict: genre hybridity. We found there a symbolic operation through which this cinema differs from Lima’s cinema and build its own identities.

This article proposes a critical regard on genre confronting this notion with Peruvian South Andean Cinema on the Armed conflict. We start by questioning genre notion, understood as a necessary condition in communicational practice between producers and audience. We are more interested in understanding how this notion points to a symbolic dispute from and among multiple agents involved in the cinematographic phenomenon. Then, we identify a characteristic that differences this cinema from hegemonic limeño cinema on armed conflict: genre hybridity. We found there a symbolic operation through which this cinema differs from Lima’s cinema and build its own identities.

Under Fujimori’s regime, Peruvian Press knew the explosion of Popular Press. This one had a very special relationship with Fujimori’s regime and his communication strategies. It could be seen through positive president representations and contenders defamation. Following a semio-pragmatic approach, this article underlines narrative and semantics constants present in media content through this press in their first page and put discursive strategies deployed in relation with reception practices.

No description

No presenta resumen.

No description