<?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>S0188-252X2024000100124</article-id>
<article-id pub-id-type="doi">10.32870/cys.v2024.8614</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El world cinema en los festivales internacionales y las salas de cine en España (2016-2021)]]></article-title>
<article-title xml:lang="pt"><![CDATA[World cinema em festivais internacionais e salas de cinema em Espanha (2016-2021)]]></article-title>
<article-title xml:lang="en"><![CDATA[World cinema in the Spanish international festivals and movie theatres (2016- 2021)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[López-Díez]]></surname>
<given-names><![CDATA[Jaime]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Zahedi]]></surname>
<given-names><![CDATA[Farshad]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Complutense de Madrid  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Carlos III de Madrid  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2024</year>
</pub-date>
<volume>21</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-252X2024000100124&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-252X2024000100124&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-252X2024000100124&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En este estudio se han analizado las películas de world cinema exhibidas en los dos festivales de cine internacionales más importantes de España: el Festival Internacional de Cine de San Sebastián y la Semana Internacional de Cine de Valladolid. Se ha buscado cuáles de ellas se han exhibido en salas de cine españolas durante el periodo 2016-2021. Los resultados muestran que alrededor de un tercio de las películas de estos dos festivales son de world cinema, y que cerca de un tercio de estas películas exhibidas en los festivales se exhiben también en salas de cine.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Neste estudo foram analisados &#8203;&#8203;os filmes de cinema mundial exibidos nos dois festivais internacionais mais importantes da Espanha: o Festival Internacional de Cinema de San Sebastián e a Semana Internacional de Cinema de Valladolid. Procurámos saber quais deles foram exibidos nos cinemas espanhóis durante o período 2016-2021. Os resultados mostram que cerca de um terço dos filmes destes dois festivais são de world cinema, e que cerca de um terço destes filmes exibidos nos festivais também são exibidos em salas de cinema.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In this study, we analyze the films in the world cinema category that have been screened at the two most important international film festivals in Spain: The San Sebastian International Film Festival, and the Valladolid International Film Week in the period of 2016-2021. It is also studied the output of these festivals in terms of screenings in the Spanish cinemas during the same period. The results show that nearly a third of the films at these two festivals belong to world cinema, and about a third of these films screened at the festivals have been shown in cinemas.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[World cinema]]></kwd>
<kwd lng="es"><![CDATA[cine transnacional]]></kwd>
<kwd lng="es"><![CDATA[festivales de cine]]></kwd>
<kwd lng="es"><![CDATA[coproducciones de cine]]></kwd>
<kwd lng="es"><![CDATA[salas de cine españolas]]></kwd>
<kwd lng="pt"><![CDATA[World cinema]]></kwd>
<kwd lng="pt"><![CDATA[cinema transnacional]]></kwd>
<kwd lng="pt"><![CDATA[festivais de cinema]]></kwd>
<kwd lng="pt"><![CDATA[coproduções cinematográficas]]></kwd>
<kwd lng="pt"><![CDATA[cinemas espanhóis]]></kwd>
<kwd lng="en"><![CDATA[World cinema]]></kwd>
<kwd lng="en"><![CDATA[transnational cinema]]></kwd>
<kwd lng="en"><![CDATA[film festivals]]></kwd>
<kwd lng="en"><![CDATA[film co-productions]]></kwd>
<kwd lng="en"><![CDATA[Spanish movie theaters]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Altman]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film/Genre]]></source>
<year>1999</year>
<publisher-name><![CDATA[British Film Institute (BFI)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Andrew]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Time Zones and Jetlag. The Flows and Phases of World cinema]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Durovicová]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Newman]]></surname>
<given-names><![CDATA[K. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[World cinemas, Transnational Perspectives]]></source>
<year>2009</year>
<page-range>59-89</page-range><publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berghahn]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Performing Exoticism and the Transnational Reception of World Cinema]]></article-title>
<source><![CDATA[Studies in World Cinema]]></source>
<year>2021</year>
<volume>1</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>221-38</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bondebjerg]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Transnational Europe: TV-drama, co-production networks and mediated cultural encounters]]></article-title>
<source><![CDATA[Palgrave Communications]]></source>
<year>2016</year>
<volume>2</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>1-13</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bourdieu]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Distinction: A Social Critique of the Judgement of Taste]]></source>
<year>1984</year>
<publisher-name><![CDATA[Harvard University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bourdieu]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[The field of cultural production: Essays on art and literature]]></source>
<year>1993</year>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chapman]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cinemas of the World: Film and Society from 1895 to the Present]]></source>
<year>2003</year>
<publisher-name><![CDATA[Reaktion Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chaudhuri]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Contemporary world cinema: Europe, the Middle East, Asia and South Asia]]></source>
<year>2005</year>
<publisher-name><![CDATA[Edinburgh University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chen]]></surname>
<given-names><![CDATA[K. H.]]></given-names>
</name>
<name>
<surname><![CDATA[Chua]]></surname>
<given-names><![CDATA[B. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[The inter-Asia cultural studies reader]]></source>
<year>2015</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Czach]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film festivals, programming, and the building of a national cinema]]></article-title>
<source><![CDATA[The Moving Image]]></source>
<year>2004</year>
<volume>4</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>76-88</page-range></nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Das]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[López-Diez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Indian cinema in Spanish movie theatres ten years after Zindagi Na Milegi Dobara]]></article-title>
<source><![CDATA[Miguel Hernández Communication Journal]]></source>
<year>2022</year>
<volume>13</volume>
<page-range>429-49</page-range></nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festivals: From European geopolitics to global cinephilia]]></source>
<year>2007</year>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: What is a film festival? How to study festivals and why you should]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Valck]]></surname>
<given-names><![CDATA[M. De]]></given-names>
</name>
<name>
<surname><![CDATA[Kredell]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Loist]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film Festivals: History, Theory, Method, Practice]]></source>
<year>2016</year>
<page-range>1-11</page-range><publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dennison]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Lim]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Remapping world cinema: Identity, culture and politics in film]]></source>
<year>2006</year>
<publisher-name><![CDATA[Wallflower]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Deshpande]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Mazaj]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[World cinema: A Critical Introduction]]></source>
<year>2018</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Durovicová]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Newman]]></surname>
<given-names><![CDATA[K. E.]]></given-names>
</name>
</person-group>
<source><![CDATA[World cinemas, Transnational Perspectives]]></source>
<year>2009</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elena]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Los cines periféricos: África, Oriente Medio, India]]></source>
<year>1999</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elena]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Difusión y circulación del cine argentino en España]]></article-title>
<collab>Centro Cultural de España en Buenos Aires</collab>
<source><![CDATA[Imágenes compartidas. Cine argentino-cine español]]></source>
<year>2011</year>
<page-range>29-49</page-range></nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elsaesser]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[European cinema: face to face with Hollywood]]></source>
<year>2005</year>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elsaesser]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[World cinema: Realism, evidence, presence]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Nagib]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Mello]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Realism and the Audiovisual Media]]></source>
<year>2009</year>
<page-range>3-19</page-range><publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[González Lozano]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[El cine como medio de comunicación social: la SEMINCI, paradigma de festivales (1956-2012)]]></source>
<year>2013</year>
<conf-name><![CDATA[ 2Congreso Nacional sobre Metodología de la Investigación en Comunicación]]></conf-name>
<conf-loc> </conf-loc>
<page-range>505-10</page-range></nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grant]]></surname>
<given-names><![CDATA[B. K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film genre reader III]]></source>
<year>2003</year>
<publisher-name><![CDATA[University of Texas Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grant]]></surname>
<given-names><![CDATA[B. K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film genre: From iconography to ideology]]></source>
<year>2007</year>
<publisher-name><![CDATA[Wallflower]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Higson]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The resilience of popular national cinemas in Europe (Part one)]]></article-title>
<source><![CDATA[Transnational Screens]]></source>
<year>2021</year>
<volume>12</volume>
<page-range>199-219</page-range></nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hill]]></surname>
<given-names><![CDATA[W. J.]]></given-names>
</name>
<name>
<surname><![CDATA[Church Gibson]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[World cinema: critical approaches]]></source>
<year>2000</year>
<publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="">
<collab>Instituto de la Cinematografía y de las Artes Audiovisuales-ICAA</collab>
<source><![CDATA[Datos sobre películas exhibidas en España. 2016-2021]]></source>
<year>2022</year>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="">
<collab>Instituto de la Cinematografía y de las Artes Audiovisuales-ICAA</collab>
<source><![CDATA[Anuario de cine]]></source>
<year>2022</year>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="">
<collab>La Semana Internacional de Cine de Valladolid (Seminci)</collab>
<source><![CDATA[Presentación]]></source>
<year>2022</year>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López-Díez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[World cinema, un concepto ubicuo y en evolución]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Zurian]]></surname>
<given-names><![CDATA[F. A.]]></given-names>
</name>
<name>
<surname><![CDATA[García-Ramos]]></surname>
<given-names><![CDATA[F. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Travesías culturales en el audiovisual contemporáneo. Mediaciones estéticas, literarias y musicales]]></source>
<year>2023</year>
<page-range>27-71</page-range><publisher-name><![CDATA[Fragua]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martin-Jones]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Deleuze and world cinemas]]></source>
<year>2011</year>
<publisher-name><![CDATA[Bloomsbury]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mazaj]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Deshpande]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Political Imperative of World cinema]]></article-title>
<source><![CDATA[Studies in World cinema]]></source>
<year>2020</year>
<volume>1</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>39-46</page-range></nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mazierska]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[World Cinema, Third Cinema]]></article-title>
<source><![CDATA[Studies in World Cinema]]></source>
<year>2020</year>
<volume>1</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>14-21</page-range></nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Moine]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Les genres du cinéma]]></source>
<year>2002</year>
<publisher-name><![CDATA[Nathan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nagib]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[World cinema and the ethics of realism]]></source>
<year>2011</year>
<publisher-name><![CDATA[Continuum]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nagib]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Realist cinema as world cinema: non-cinema, intermedial passages, total cinema]]></source>
<year>2020</year>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nagib]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Perriam]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Dudrah]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Theorizing world cinema]]></source>
<year>2011</year>
<publisher-name><![CDATA[Bloomsbury]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="journal">
<collab>Organización de las Naciones Unidad-ONU</collab>
<article-title xml:lang=""><![CDATA[Standard country or area codes for statistical use (M49)]]></article-title>
<source><![CDATA[UNstats]]></source>
<year>1999</year>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Parvulescu]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[World Cinema, VOD Platforms and the Western Demand]]></article-title>
<source><![CDATA[Studies in World Cinema]]></source>
<year>2020</year>
<volume>1</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>53-9</page-range></nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="">
<collab>San Sebastian International Film Festival-SSIFF</collab>
<source><![CDATA[Un poco de historia]]></source>
<year>2022</year>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="">
<collab>San Sebastián International Film Festival-SSIFF</collab>
<source><![CDATA[Premios Donostia]]></source>
<year>2023</year>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Solanas]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Gettino]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Towards a Third Cinema]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Nichols]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<source><![CDATA[Movies and Methods]]></source>
<year>1976</year>
<page-range>44-64</page-range><publisher-name><![CDATA[California University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Stam]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[World Literature, Transnational Cinema, and Global Media: Towards a Transartistic Commons]]></source>
<year>2019</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Thornton]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Tastemakers and Tastemaking: Mexico and Curated Screen Violence]]></source>
<year>2020</year>
<publisher-name><![CDATA[State University of New York Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="">
<collab>Unesco Institute for Statistics-UIS. Stat</collab>
<source><![CDATA[Feature Films]]></source>
<year>2022</year>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
