BEHIND THE SCREEN: THE IMPACT OF ABUSIVE RELATIONSHIPS IN FILMS
Representations of emotionally abusive relationships depicted in commercial film offerings aimed at young people in the San Salvador Metropolitan Area (AMSS), between July 2021 and July 2022
DOI:
https://doi.org/10.5377/aai.v1i17.20167Keywords:
Cinema-Psychological aspects, Cinematographic films-AnalysisAbstract
More than once, we have been inside a movie theater, being spectators of a story that has captured our attention completely. But, the behind-the-scenes of each of these plots usually go unnoticed regardless of the category. There is much more to analyze and think about the true impact that these different messages have on the audience. In some cases, these messages can impact the personality of certain viewers as they might want to imitate a similar life. Within this research paper, the aim is to analyze comercial film productions that are the most viewed by these young people in which emotional abuse within relationships is usually romanticized.
EMH ABIERTA_AT_N17-2023-68-81.
95
HTML (Español (España)) 6
References
Campbell, J. (1949). El héroe de las mil caras. Fondo de Cultura Económica.
Costa, C. (2013). Narrativas transmedia nativas: ventajas, elementos de la planificación de un proyecto audiovisual transmedia y estudio de caso. https://www.researchgate.net/profile/Carmen-Costa Sanchez/publication/272647517_Narrativas_Transmedia_Nativas_Ventajaselementos_de_la-_planificacion_de_un_proyecto_audi-ovisual_transmedia_y_estudio_de_caso/links/56fcee8e08aeb723f15bf582/Narrativas-Transmedia-Nativas-Ventajas-elementos-dela-planificacion-de-un-proyecto-udiovisualtransmedia-y-estudio-de-caso.pdf
Eleno, A. (2013). Las ideas del amor de RJ Sternberg: la teoría triangular y la teoría narrativa del amor. Familia: Revista deficiencias y orientación familiar, 46 (57-86). http://educa.minedu.gob.bo/assets/uploads/files/cont/esfm/esfm27-z4kf.pdf
Morin, E. (2004). El cine o el hombre imaginario. Grupo Planeta (GBS).
Navidad, M. (2020). “¿Cuál es la edad ideal para que tus hijos inicien un noviazgo?”.
Noticias El Salvador. https://historico.elsalvador.com/historico/691862/noviazgo-permisojovenes-edad.html
Paz, M. (1995). Cine europeo de guerra: la memoria cinematográfica de la guerra y de la resistencia en Italia y Francia. Historia y cine: realidad, ficción y propaganda, 213-233. https://dialnet.unirioja.es/servlet/articulo?codigo=990295
Rosenstone, R. A. (1995). The historical film as real history. sinecine: Sinema Araştırmaları Dergisi, 9(1),159-181. https://dergipark.org. tr/en/pub/sinecine/issue/36931/422321
Savetz, K., Randall, N. y Lepage, Y. (1995). MBONE: Multicasting tomorrow's Internet. IDG Books Worldwide, Inc. https://www.savetz.com/mbone/
Vázquez, R. (2015, 23 de julio). Entendiendo la transmedia storytelling con Carlos Alberto Scolari. Forbes. https://www.forbes.com.mx/entendiendo-la-transmedia-storytelling-concarlos-alberto-scolari/
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Marianela Rocío Chiu de la Fuente, Ana Beatriz Pimentel Calderón, Francisco José Tenorio Calderón

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material
- The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- NonCommercial — You may not use the material for commercial purposes .
- ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Notices:
You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation .
No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.