This is issue 13 of our Journal, a proof of our permanent consolidation. In addition to our incursion in platforms such as Isi-Cielo and WebQualis, now we are included in e-revist@s, a portal of significant influence on the field of science in Hispanic America. The more readers can have access to our contents the closer we will be to fulfill our vision: To disclose research results derived from the communication field.  Consequently, issue by issue we are witnessing the expansion of the bounda­ries of communication knowledge and the academic reflections that emerge from situations experienced in Hispanic America and the entire world. For this reason our pages have been given cooperation in all areas comprising the field of commu­nication and have witnessed the way topics and political and cultural tendencies have formed.

This article is focused on the first season of TV series Homeland (Michael Cuesta, 2011), intended to make a sociological and political analysis of its content. For this purpose, a textual analysis methodology will be used taken from the political ideas of thinker Slavoj Zizek, specifically from his written work about the North American trauma after the 11S. In the same way, connections among law, body, and ideology in the tapiz narrative televisivo are addressed.

This article is an attempt to show that other speeches and film works have been produced together with a Canonic manner of understanding the documentary film. These speeches and works clearly show that this audiovisual practice has not been limited to the function of informing and serving as an ideological instrument. In this sense, the text is a proposal to place some transformations of this practice in the contemporary context based on the changes seen in the field of the most traditional arts.

Contemporary television fiction series is frequently described from concepts such as narrative risk, creativity, originality, and also transgression of technical and argumentative topics. However, some analyses conducted from epistemological non-hegemonic approaches, such as Gender Studies, feminist studies, studies on men and masculinity, LGBTI studies or Queer Theory, among others, have found that such transgressions are not always produced in relation to gender identities. Through a theoretical and aesthetic methodology, this article offers a tour through paradigmatic series with the purpose of making a reflection on the presence or absence of gender binary system

The 15-M movement raised in Spring 2011 and the social activity of the Indignants in Spain was a social and cultural phenomenon of big interest not only in the Spanish society but also in other countries of Europe and America. It seems that the Indignants Movement -that was started in Spain- was also the inspiration for a segment of Polish youth to protest against the Government. But the nature and the scope of these protests were clearly different from it was happening in Old Europe. The objective of this article is to show similarities and differences of the young people’s attitude in Spain and Poland, making reference to comments of the Polish press.

This article proposes a critical reflection on the case of the
Spanish internet user Mario Costeja in his fight against Google
search engine. Mario Costeja exercised his right of opposition
to the handling of his personal data against Google Spain, S. L.,
Google Inc. and La Vanguardia Ediciones S.L. The rejection of
both companies against his petition resulted in a claim before
“Agencia Española de Protección de Datos” that ended up in the
European Court of Justice. This article describes all the process
and collects all voices involved in the trial, with the purpose of
offering a reflexive construction of a pioneer judgment binding
upon all the member States of the European Union.

Amado Carillo Fuentes, a Mexican drug trafficker of the 90’s, has been shown as a dual individual: Transformed into a hero by his own town of origin and sentenced as villain by the Mexican State. His life has been narrated in several productions as “narcororridos,” films, soap operas, and more recently in telenovela “El Señor de los Cielos.” Although in the novel with the same title, published in 2013 by Andrés López, Carillo is described as a hero, the Telemundo telenovela shows him as a villain persecuted by police officer Marco Mejía. In both creations, however, drug trafficking is shown from an ethical code in opposition to the State corruption and impunity. As viewers of this telenovela, we tend to sympathize with the villain and not with the hero, which goes against the rules of the classic melodrama. In our opinion, this may be due to the fact that we recognize the villain’s vehemence to survive in an adverse environment and his fight against a government incapable of protecting its own heroes. The telenovela would then denounce the existence of an anomic State when the villain is transformed into the real leading protagonist.

This article is intended to make a deep description of current
condition of Colombian cinematography in Colombia in the light
of production models, existing regulations, topics addressed, and
producers’ education. The analysis starts by evaluating ticket
selling concerning cost-benefit, amount of national premieres
compared to international ones, policies of the State promotion
to each stage of production and marketing of a movie, and
international awards obtained for Colombian films. After 10 years
of operation of the new film law, this article shows a summary of
what this new law represents for the domestic film.

The topic of native and ethnic radio, as part of the lack of
research on radio in Colombia, has been poorly developed
(Cuesta Moreno, 2012a, 2012b). This article shows three study
cases: Radio Nasa of Nasa Community, Jujunula Makuira of Wayuu
Community, and Al A With A Wan program of native community
from San Andrés island; it also explores the identity perspectives
that find negotiation spaces in radio production, especially the
relationship of their collective identity and the way it affects or
determines its linguistic use. This research is based on a threestage
process where producers (practice communities) (Wenger,
1998) make a reflection on their function and issue concepts on
the way their identity is reflected from the construction of their
programming. Results show that several levels of affiliation to
several identification facets make it possible to relate, in several
manners, the communication work of radio and that these
identifications present in the practice communities have a real
impact on the linguistic radio production of each community.

 El trabajo de las colegas Gladys Lucía Acosta V. y Angela Garcés Montoya reúne las virtudes de ser una investigación académica sólida que, además de entregar sus conclusiones, facilita generosamente el método, ofreciéndolo para el aprendizaje y la crítica honesta, y al mismo tiempo aporta valiosísimas reflexiones sobre los cruces entre comunicación, ciudadanía y juventud. Como todo buen trabajo de investigación, junto con las conclusiones desata nuevas preguntas para seguir trabajando, produciendo, desafiando a la inteligencia y a la práctica transformadora. A lo anterior se agrega la virtud de haber construido un texto que sin perder la rigurosidad académica que surge de la investigación se ofrece en un lenguaje ágil y llano, complejo en su esencia y descomplicado en su expresión. Accesible, en consecuencia, no solo a los estudiosos del campo académico y profesional, sino también a todos aque­llos que se sientan desafiados por la aventura del conocimiento vinculada a la prácticas sociales de transformación, a la política, a la ciudadanía y a los aportes que los jóvenes hacen a la vida de la sociedad introduciendo otros modos de hacer, de decir, de producir, de construir política y ciudadanía.