<?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>2007-8110</journal-id>
<journal-title><![CDATA[Cultura y representaciones sociales]]></journal-title>
<abbrev-journal-title><![CDATA[Cultura representaciones soc]]></abbrev-journal-title>
<issn>2007-8110</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Sociales]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2007-81102020000200063</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Representaciones sociales en el cine de arte experimental: de la estética a la indignación social]]></article-title>
<article-title xml:lang="en"><![CDATA[Social representations in experimental art films: from aesthetics to social indignation]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alba]]></surname>
<given-names><![CDATA[Martha de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Autónoma Metropolitana  ]]></institution>
<addr-line><![CDATA[Iztapalapa ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<volume>15</volume>
<numero>29</numero>
<fpage>63</fpage>
<lpage>91</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2007-81102020000200063&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2007-81102020000200063&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2007-81102020000200063&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen  El objetivo de este artículo es presentar resultados parciales de una investigación internacional sobre la recepción de una síntesis de tres películas de arte experimental (la Trilogía Qatsi de Godfrey Reggio y Philip Glass) por parte de estudiantes universitarios. A partir de tales resultados me propongo reflexionar sobre el posible diálogo entre el mensaje que los creadores de la trilogía pretendieron comunicar y su recepción por parte de la muestra de estudiantes mexicanos que participaron en este estudio. El texto está divido en dos partes. Primero, presento el análisis de las secuencias de la síntesis que tuvieron mayor frecuencia de recuerdo, basándome en las ideas de Barthes sobre cine y de Vigotsky sobre la psicología del arte, con el propósito de observar las representaciones sociales que las secuencias (compuestas de imágenes y música) vehiculan. Después, analizo las representaciones sociales evocadas por estas secuencias, expresadas en las respuestas abiertas del cuestionario aplicado a los estudiantes sobre los fragmentos recordados. Los resultados muestran que la crítica política del mundo contemporáneo que transmiten Reggio y Glass en la trilogía es cabalmente comprendida por los encuestados. En el plano de la experiencia estética, la película genera emociones contradictorias que se resuelven y toman sentido a través de la creación de representaciones del mundo y de sus injusticias sociales.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The aim of this text is to present some of the results of an international research project on the perception of university students, from different countries, of a synthesis of three experimental art films (the Qatsi trilogy by Godfrey Reggio and Philip Glass). Based on the results, I intend to cast some light on the possible dialogue between the message that the creators of the trilogy intended to communicate and its reception by the sample of Mexican students who participated in this study. The text is divided in two parts. First, I analyze the sequences of the synthesis that had the highest recall frequency, using ideas of Barthes on cinema and those of Vygotsky on the psychology of art, to observe the social representations that the sequences (composed of images and music) vehiculate. Then I analyze the social representations evoked by these sequences, expressed in the open responses to the questionnaire applied to the students about the recalled fragments. The results show that the political critique of the contemporary world transmitted by Reggio and Glass in the trilogy is well understood by the respondents. In terms of aesthetic experience, the film generates contradictory emotions and representations of the world and the social injustices which could explain them.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[representaciones sociales]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[Trilogía Qatsi]]></kwd>
<kwd lng="es"><![CDATA[estudiantes mexicanos]]></kwd>
<kwd lng="es"><![CDATA[experiencia estética]]></kwd>
<kwd lng="en"><![CDATA[social representations]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[Qatsi trilogy]]></kwd>
<kwd lng="en"><![CDATA[mexican students]]></kwd>
<kwd lng="en"><![CDATA[aesthetic experience]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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