Suchergebnisse

This paper is based on a previous study on the representation of Arab Muslim women in Spanish fiction series of the second decade of the 21st century. It was decided to replicate the analysis in a selection of films to determine whether both media offer similar cultural discourses about this group. Using a qualitative methodology based on the characterization model and the analysis of the stereotype figure, it was determined that, in fiction feature films and unlike the series, these women have been relegated to secondary characters with greater or lesser presence in the plot. Furthermore, their participation in the plot depends exclusively on their link with a male character. In both formats, they are represented with physical features frequently associated with their community and all of them wear a turban or hijab at some point in the plot. In both, series and films, there are characters from this group that break with the tendency to associate these women with the private sphere. In films, there are not many scenes in which stereotypes associated with this minority are expressed verbally. However, when this occurs, they confront and correct the concepts with which they are defined. Nevertheless, topics such as the way of life, religion, or violence are represented through preconceived ideas, usually associated with this community. It is concluded that, unlike in the field of serialized audiovisuals, Spanish cinema, for the most part, has returned to the first formulas of representation of Arab Muslim women. This is consistent with current data on audiovisual content production in Spain, which reflect a trend of return to the past in cinema, in relation to diversity and character representation. The image of this minority in films is characterized by invisibility, lack of voice, confinement to the domestic sphere, and links to violence and drugs. Therefore, the stereotype associating nationality with criminal behavior and substance abuse is maintained in Spanish fiction.

This article evaluates the way Arab Muslim women are represented in documentaries by diasporic filmmakers and producers involved in social transformation and in giving visibility to individuals usually excluded from traditional narratives. Based on the case studies Entre dos orillas, voces de mujeres marroquíes (Hicham Malayo, 2014) and Vidas invisibles: mujeres migrantes bajo el plástico (La Cosecha Producción Audiovisual, 2020), a qualitative content analysis was conducted to examine the messages about these women and their lives in Spain, and the framing devices used in the documentaries. Although these audiovisuals attempt to portray the diversity of Arab Muslim immigrant women's experiences rather than present a homogeneous and universal image, they follow the common narrative that portrays immigrants as an external addition to Spanish society, rather than as full members of it. This suggests that, although these works come from the margins of industrial production, they do not necessarily offer a groundbreaking discursive alternative to these collectives. Nor do they provide a representation of these women that contributes to (re)defining their collective identity as part of Spanish society, nor do they provide an understanding of Spain as a place of ethnic and social diversity.

This article identifies and analyzes the image and stereotypes associated with Arab Muslim women in the discourse of fiction produced in Spain through the study of the series 'Skam Es-paña' and 'La víctima número 8'. Through a qualitative methodology based on the characterization model and the analysis of the stereotype figure, it is concluded that both audiovisuals give relevance to these women, offer alternatives to the activities and spaces to which they are commonly circumscribed and enable them to confront and correct the stereotypes with which they are defined.

En el mundo contemporáneo de la tecnocultura se ha instituido un espacio público multimodal en el que la interacción entre la ciudadanía y el poder se establece tanto en el entorno urbano como en el online. Se han adoptado nuevas praxis políticas insurgentes y de resistencia en las que el humor y los procesos de carnavalización traspasan el matiz expresivo para adquirir un carácter instrumental. A raíz de la ampliación del acceso a Internet en Cuba, la comunicación entre gobierno y pueblo ha adoptado una fórmula más horizontal. Los cubanos, adaptados tradicionalmente a una estructura comunicativa unidireccional y vertical, ahora pueden desempeñarse como fuente directa de información, dinamizar la opinión pública e influir en el sistema, que ha perdido su estatus monolítico. La presente investigación se centra en el análisis del uso de los memes de contenido sociopolítico por parte de jóvenes cubanos en la red social Facebook para determinar si estos productos comunicativos se han transformado en herramientas de ciberactivismo en la nación caribeña. Para ello se adoptó la metodología del Análisis Multimodal y se aplicó una encuesta a una muestra representativa de jóvenes del país antillano para identificar su discurso con respecto al objeto de estudio. ; In the contemporary world of technoculture, a multimodal public space has been instituted in which the interaction between citizens and power is established both in the urban environment and online. New insurgent and resistance political practices have been adopted in which humor and carnivalization processes go beyond the expressive nuance to acquire an instrumental character. As a result of the expansion of Internet access in Cuba, communication between the government and the people has adopted a more horizontal formula. Cubans, traditionally adapted to a unidirectional and vertical communication structure, can now act as a direct source of information, energize public opinion and influence the system that has lost its monolithic status. This research focuses on the analysis of the use of memes with socio-political content by young Cubans on the social network Facebook to determine whether these communicative products have become tools for cyberactivism in the Caribbean nation. For this, the Multimodal Analysis methodology was adopted and a survey was applied to a representative sample of young people from the Antillean country to identify their discourse regarding the object of study. ; Universidad de Sevilla. Máster Universitario en Comunicación y Cultura

La representación en la contemporaneidad posee una innegable centralidad en la cultura occidental, en la cual se relaciona lo visto con la verdad. Actualmente, los productos audiovisuales son los encargados de recrear y representar visualmente espacios y culturas del mundo a los que generalmente sólo se puede acceder mediante las pantallas, con las connotaciones y filtros que ello implica. En la dicotomía entre Occidente y el mundo árabe musulmán los medios de comunicación han sustituido a otros actores como ventana de aproximación y producción de la imagen de esa parte del mundo. Las mujeres han sido parte de los elementos diferenciadores más recurridos a la hora de representar a las culturas árabes musulmanas y el choque entre los valores occidentales y de Oriente. Este capítulo propone un recorrido a través de las contribuciones teóricas y elementos contextuales que configuran e influyen en la representación de mujeres árabes musulmanas en largometrajes y series de ficción españoles de la segunda década del siglo XXI. Estos factores constituyen la base para el posterior diagnóstico del papel de los medios de españoles en la reducción de desigualdades y a favor de la equidad de género a través del discurso social del entretenimiento.