VISUALreview. International Visual Culture Review / Revista Internacional de Cultura Visual https://journals.eagora.org/revVISUAL <p><em>VISUALreview. International Visual Culture Review / Revista Internacional de Cultura Visual</em> asks questions about the nature of the image and about the imaging functions. This interdisciplinary and transdisciplinary magazine brings together the perspectives of researchers, theorists, professionals and teachers from different fields, such as architecture, art, cognitive science, telecommunications, computing, cultural studies, design, education , film studies, history, linguistics, management, marketing, commercialization and distribution, the media, museography, philosophy, semiotics, photography, psychology, religious studies, etc.</p> <p><em>VISUALreview. International Visual Culture Review / Revista Internacional de Cultura Visual</em> is peer-reviewed inspired by the ethical code of publications developed by COPE (https://www.um.es/ead/red/etica.pdf). It has qualitative content review processes that guarantee the publication of works of the highest scientific quality. The arbitration system uses external evaluators to this editorial. Only original texts written in Spanish, Portuguese or English are accepted for publication.</p> <p>Editorial decisions are not affected by the origin of the manuscript, including the authors' nationality, ethnicity, political beliefs, race or religion. Decisions to edit or publish are not determined by government or other agency policies, that is, by policies other than those of the magazine itself.</p> Global Knowledge Academics en-US VISUALreview. International Visual Culture Review / Revista Internacional de Cultura Visual 2530-4666 Rio de Janeiro 2016: Visual and Audiovisual Narratives of the City from both Hegemonic media and Citizen Media https://journals.eagora.org/revVISUAL/article/view/1843 <p class="p1">Throw the analyses of how Rio de Janeiro city has been represented by audiovisual formats during Olympic games in 2016, studying products and process of participatory video made by local children and young people, and analyzing the ways how the city is represented in an audiovisual way by commercial spots of International Olympic Committee (IOC), the author identifies mediations (Martin-Barbero) between ways how the city is narrated by both hegemonic media and citizen media way. Article identifies as well visual narratives strategics that offers a complex panorama about politics relationships and ways to face the visual experience of the city. Research opperates using Misè en Scene as analytic operator of televisual style analysis of the selected videos (from both hegemonic and citizen media), combining this methodology with a etnographical process of observation of the process of audiovisual creation in citizen media.</p> Julian Espinosa Copyright (c) 2020-06-16 2020-06-16 7 1 1 11 10.37467/gka-revvisual.v7.1843 A Proposal for the Analysis of Female Stereotypes in Reggaeton Videoclips: Case Study of the Four most Viewed Videos in 2018 on YouTube https://journals.eagora.org/revVISUAL/article/view/2280 <p>The representation of women in music is an object of research little developed academically and much less in contemporary and popular musical styles such as urban music. This text proposes the analysis of stereotypes of women as a character in international success reggaeton songs performed by men. For this purpose, content analysis sheets have been used primarily for the most viewed clips on youtube during 2018. The design of the sheet is fed by other research previously carried out by experts in the field, to finally synthesize the information in three blocks: the first two, coded to obtain quantitative results and the third, to collect qualitative data.</p> Carmen del Rocío Monedero Morales Copyright (c) 2020-06-16 2020-06-16 7 1 13 26 10.37467/gka-revvisual.v7.2280 Lettergraphy. Synthesis and Visual Communication https://journals.eagora.org/revVISUAL/article/view/2285 <p class="p1"><em>Letters</em> appeared in the world as a necessity for communication. They were created as images which represented ideas and sounds. Through time letters were transformed into what people now know as an alphabet. Today this language system seems to be invisible, probably because of the everyday with which it is manipulated. In this sense the objective of the text is to propose a semantic distancing from the conventional use of letters to state that through the form and expressiveness of each letter it is possible to transmit a message.</p> Santiago Osnaya Baltierra Copyright (c) 2020-06-26 2020-06-26 7 1 27 37 10.37467/gka-revvisual.v7.2285 The Mexican Lottery as a Tool to Promote Visual Culture in the Editorial Design Process https://journals.eagora.org/revVISUAL/article/view/2275 <p>The Mexican lottery is a classic Mexican game as an activity where the students of the Bachelor of Design in Graphic Communication at the University of Guadalajara develop and allow the reinforcement of knowledge of the editorial design process. Design a lottery with the theme, where the idea through the concept and management of the form: identifies the actors, with images of each of the processes, reinforcing the visual culture, build and share their visual references, is generated with the letters, a visual-conceptual representation of the actors and a learning that includes linguistic and verbal intelligence.</p> Irma Lucía Gutiérrez Cruz Copyright (c) 2020-07-09 2020-07-09 7 1 39 46 10.37467/gka-revvisual.v7.2275 The Meme and its Silences in Case of Natural Disasters: 19S in Mexico City https://journals.eagora.org/revVISUAL/article/view/2165 <p>In cases of natural disasters, societies enter into emergency and emotions overflow&nbsp;derived from the break with their daily lives because of the tragedy that this events generate. The aforementioned is reflected in digital social networks, where ethical codes and self-regulation of the population are made explicit about what can be said or shown and what cannot, generating moments of multiple silences and imposed for some formats, especially those which are humorous, as is the meme.</p> Úrsula Albo Cos José Luis Sánchez Ramírez Copyright (c) 2020-07-09 2020-07-09 7 1 47 55 10.37467/gka-revvisual.v7.2165 New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne https://journals.eagora.org/revVISUAL/article/view/2598 <p>This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. &nbsp;Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.</p> Tuncay Şur Betül Yarar Copyright (c) 2020-07-23 2020-07-23 7 1 57 76 10.37467/gka-revvisual.v7.2598 White Zombie as Captivity Narrative and the Death of Certainty https://journals.eagora.org/revVISUAL/article/view/2604 <p>Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage other.</p> <p>The shell of the captivity story is as old as America and relates closely to the Western and to the frontier myth, from which the Western emerged. What inexorably links the Western and all zombie films is the notion of containment. Whereas the Western sought to contain the American Other, all zombie films ask, instead, what happens if the other breaks through the proverbial gates. In other words, what if containment fails?</p> Mark C Anderson Copyright (c) 2020-07-29 2020-07-29 7 1 77 84 10.37467/gka-revvisual.v7.2604