Conexión. Núm. 21 (2024)
URI permanente para esta colecciónhttp://54.81.141.168/handle/123456789/200624
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Ítem Texto completo enlazado Implementación del primer laboratorio integral para la restauración del patrimonio cinematográfico en el Perú: el rol de la Asociación Guarango Cine y Video(Pontificia Universidad Católica del Perú, 2024-07-19) Rebata Delgado, Sofía MagalyThe essay analyzes the process of implementation of the first integral restoration laboratory by Guarango Film and Video Association (Guarango) in Peru. This milestone is based on a culture of research, innovation, continuous training, and effective fund management. It highlights Guarango’s commitment to the enhancement of film heritage and the development of the national film industry. It examines the state of regional film heritage, Guarango’s experience as an organization, its high-quality productions, and technological advances. It also details the restoration process, quality control and laboratory equipment. The case of Guarango represents a significant advance for the film industry, standing out as an example of commitment to the preservation of audiovisual heritage and the promotion of national cinema.Ítem Texto completo enlazado Entre archivos, imágenes y colaboraciones: Tomate Colectivo(Pontificia Universidad Católica del Perú, 2024-07-19) Gonzales Oviedo, Julio CésarThe essay proposes an approach to the audiovisual practices of the popular communication group Tomate Colectivo. Based on the experience of the audiovisual series Trazando resistencias (tomatecolectivo, 2014a, 2014b, 2014c, 2014d, 2014e, 2014f, 2014g y 2014h), it invites us to question visuality as a field in tension that involves the production, distribution and cultural meanings of images in audiovisual practices in contexts of ecoterritorial struggles. In this way, an attempt is made to investigate the relevance of the collective’s digital audiovisual archives as a potential space for research and construction of narratives, which not only document social and cultural processes, but also construct countervisualities from the ecoterritorial struggles in Cajamarca, Peru.Ítem Texto completo enlazado Enfoque de las tres perspectivas: hacia una nueva configuración del archivo fotográfico(Pontificia Universidad Católica del Perú, 2024-07-19) Colunge Rosales, Ángel EnriqueThe article proposes a new methodology, the three-perspective approach, for the classification of photographs in archives. It is based on the intersection of visual economy and mass communication theory. This approach understands the archive as a relational phenomenon, where images participate in networks of meaning and power. The three perspectives are the sender and production, the image and circulation, and the audience and consumption, all framed within a specific space/time. The methodology is applied to the case study of the TAFOS project collection, active between 1986 and 1998. The approach allows for multiple classifications according to the version of the archive, and opens new ways to explore its communicative and expressive potential. The proposal seeks to strengthen the continuity of photographic archives as living agents decentered from library logic, promoting discursive diversity and resisting totalitarianism that restricts their action and enunciation.Ítem Texto completo enlazado Digitalización, interpretación y mediaciones en la exposición «Emilio Díaz. Esplendor del retrato fotográfico en Arequipa. 1893-1920», de 2018(Pontificia Universidad Católica del Perú, 2024-07-19) Zúñiga Bardales, Sergio EnriqueThe digitization of heritage photographic archives is a recurring practice when doing research and exhibitions. These processes are of great importance since, through them, new material culture is created: new digital objects with particular characteristics that are different from the original. The digital objects arise from a technical process, which turns out to be the convergence of different subjectivities and points of view on the photographic object. The digitization is a mediated process by different humans the curator, conservator-restorer, digitizer and no-humans scanners, digital cameras. This contributes to the discussion of how a process that is often considered simply technical and almost objective is actually a performative cocreation between humans and non-humans whose decisions and agency restructure the meaning and value of the archive.Ítem Texto completo enlazado Filmoteca PUCP: historia y patrimonio audiovisual nacional(Pontificia Universidad Católica del Perú, 2024-07-25) Díaz-Cervantes, Katherine; Flores Saldaña, Annia TamaraThe PUCP Film Archive is the national archive representative of the International Federation of Film Archives (FIAF) and preserver of the Peruvian national heritage. This research contributes to greater knowledge and awareness of the role it plays in audiovisual preservation. In this sense, the general objective of this article is, through the case of the PUCP Film Archive, to propose a reference model for the study of film archives. The specific objectives are to delimit the areas of internal and external analysis of a film archive, to propose the SWOT methodology focused on archives, and to identify the deficiencies or limitations that the methodology has for the study of film archives.Ítem Texto completo enlazado Memoria archivada del chisme. Análisis de un caso de infidelidad mediática(Pontificia Universidad Católica del Perú, 2024-07-25) Solís López, Augusto-PavelThe article aims to analyze the discourse of infidelity gossip in a Peruvian show business couple, focusing on the construction of memory about infidelity in the social network X during the year 2024. A descriptive qualitative analysis technique is employed based on a selection of 115 highlighted tweets collected from the X API, with the terms Christian Domínguez and Pamela Franco. The analysis focuses on the categories of monogamy, cheating and infidelity information according to gender. The results indicate that there is a difference in the interpretation of the memory of infidelity in the case of Dominguez, with a greater scope and conversations that use humor as part of the discourse. In contrast, in the case of Franco, more judgments about his behavior are observed, as well as assessments related to his emotions and body, and a lower presence of humor. In conclusion, the mediatization of gossip in Peru does generate distinctions about who is considered unfaithful, influenced by gender and the personal history of each individual in relation to this behavior.Ítem Texto completo enlazado Presentación(Pontificia Universidad Católica del Perú, 2024-07-31) Aréstegui, Claudia; Pichihua, Sofia; Sánchez, MiguelNo presenta resumenÍtem Texto completo enlazado Archivo fotográfico colectivo y paisaje migrante: la experiencia de los dekasegi latinoamericanos en el Japón periurbano(Pontificia Universidad Católica del Perú, 2024-07-25) Ibañez Sandoval, MaritaThis paper delves into the experiences of the Latin American dekasegi community within the peri-urban landscapes of Japan, specifically in a city in Ibaraki prefecture. The surrounding landscape is documented using participatory visual methods based on photographic practice, such as photowalks and photo elicitation. By exploring the intersection of visual communication, migrant identities, and cross-cultural processes to document the migratory landscape, this study reveals how photography and its participatory use are means to construct and preserve individual and collective memories and generate transparent conversations about the migrant experience. A collective photographic archive from the photowalks in Jōsō offers an insight into transculturality in the Japanese peri-urban landscape, enriching the academic understanding of migration and visual culture. This study emphasizes the importance of participatory visual methods in migration research and the role of photography in the recognition and appreciation of migrant identities and narratives.