<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0188-252X</journal-id>
<journal-title><![CDATA[Comunicación y sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Comun. soc]]></abbrev-journal-title>
<issn>0188-252X</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guadalajara, Departamento de Estudios de la Comunicación Social]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-252X2021000100403</article-id>
<article-id pub-id-type="doi">10.32870/cys.v2021.8037</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Caracterización de las producciones cinematográficas latinoamericanas en Netflix: perspectivas desde Bolivia]]></article-title>
<article-title xml:lang="en"><![CDATA[Content characterization of Latin American film productions on Netflix: a Bolivian perspective]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Rodríguez-Camacho]]></surname>
<given-names><![CDATA[Javier Alejandro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Laguna-Tapia]]></surname>
<given-names><![CDATA[Andrés]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bürger]]></surname>
<given-names><![CDATA[Jens]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Landívar-Freire]]></surname>
<given-names><![CDATA[Vania]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Pontificia Universidad Javeriana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Privada Boliviana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Bolivia</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,KU Leuven Institute Leuven.AI ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Belgium</country>
</aff>
<aff id="Af4">
<institution><![CDATA[,Universidad Privada Boliviana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Bolivia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2021</year>
</pub-date>
<volume>18</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-252X2021000100403&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-252X2021000100403&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-252X2021000100403&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En este artículo estudiamos los flujos fílmicos entre Bolivia y Latinoamérica para explorar la subrepresentación del país en Netflix y su limitada presencia en otras plataformas de streaming. Caracterizamos el contenido original y de terceros disponible en Netflix y películas bolivianas recientes, desarrollando un análisis temático basado en sus sinopsis y géneros cinematográficos, que se completa con resultados de una encuesta sobre el consumo boliviano de streaming. Identificamos patrones comunes en el contenido de Netflix y mostramos sus diferencias con la producción boliviana, más alineada con una tradición típica de un cine nacional. Los resultados sugieren un efecto homogeneizador que podrían tener plataformas como Netflix en la producción audiovisual local.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract We study international film flows between Bolivia and Latin America to explore the lack of Bolivian content on Netflix and its limited presence in other SVOD platforms. We characterize Netflix originals, third-party content, and recent Bolivian films, and develop a thematic analysis of their synopsis and genre description, completed with the results of a survey on the Bolivian consumption of streaming content. We identify common patterns in Netflix content and show how it differs from the more nationally minded Bolivian cinematic tradition. Our results point to a homogenizing effect SVOD platforms like Netflix might have on film productions.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Netflix]]></kwd>
<kwd lng="es"><![CDATA[producción cinematográfica]]></kwd>
<kwd lng="es"><![CDATA[distribución internacional]]></kwd>
<kwd lng="es"><![CDATA[streaming]]></kwd>
<kwd lng="es"><![CDATA[Bolivia]]></kwd>
<kwd lng="es"><![CDATA[análisis de contenido]]></kwd>
<kwd lng="en"><![CDATA[Netflix]]></kwd>
<kwd lng="en"><![CDATA[film production]]></kwd>
<kwd lng="en"><![CDATA[international film distribution]]></kwd>
<kwd lng="en"><![CDATA[Bolivia]]></kwd>
<kwd lng="en"><![CDATA[content analysis]]></kwd>
</kwd-group>
</article-meta>
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