Netflix Documentary Series in Spain. Challenging the Classical Seriality Norms

This research analyzes the impact of Netflix’s all-at-once premiere on the dynamics of seriality. The digitalization of television has profoundly modified the medium, and the binge watching, and the abandonment of the weekly premiere have completely changed the consumption and the creation of fictions. To address this issue, we focus on the documentary series produced by the company in Spain: Examen de conciencia (2019), El caso Alcàsser (2019), La Línea: La sombra del narco (2020) and Nevenka (2021). The main consequences generated by the elimination of the wait between episodes make the episodic plots overflow the chapter and serial storylines do not follow patterns linked to speculation. Consequently, the episodes lose their formal unity or, directly, seriality is abandoned as a narrative model. This paradigm reinforces the idea that, by modifying the distribution methodology, the syntactic characteristics of the products are also altered.Esta investigación analiza el impacto que ha tenido el estreno único de Netflix en las dinámicas propias de la serialidad. La digitalización de la televisión ha modificado profundamente el medio y el binge watching y el abandono del estreno semanal han cambiado por completo el consumo y la creación de ficciones. Para abordar esta cuestión, se analizan las cuatro series documentales que ha producido la compañía en España: Examen de conciencia (2019), El caso Alcàsser (2019), La Línea: La sombra del narco (2020) y Nevenka (2021). Al eliminar la espera entre los episodios las tramas capitulares desbordan la entrega y los seriales no siguen los patrones vinculados a la especulación. Consecuentemente, las entregas pierden su unidad formal o, directamente, se abandona la serialidad como modelo narrativo. Este cambio de paradigma refuerza la idea de que, al modificar la metodología de distribución, también se alteran las características sintácticas de los productos

What characters have to say. The creation of dialogues using William Layton's methodology

Dialogue creation is an essential phase of audiovisual scriptwriting. This article explains William Layton's dramatic texts analysis system originally aimed at acting performance, and applies it to the writing of audiovisual dialogues. It also explains how students of a Master's degree in screenwriting have been trained in this system and shows its usefulness for creating dialogues by means of a survey applied to 85 students from different classes. Of these, 59% had previous training or experience in audiovisuals. Before learning about the Layton method, only 9% of the sample used other techniques to create dialogues and 50% knew generic advice that would guide the design of their characters' conversations. The fact is that technical or academic monographs on screenwriting do not offer systematic methodologies that allow aspiring screenwriters to get started in dialogue writing, but they only provide recommendations. By disseminating this technique for the creation of audiovisual dialogues, this article aims to help prevent this lack of systematic methodologies from being transferred to training programs. Participants confirm that this method favors synthesis (84%) and pre-planning of the dialogues and the functionality of each sentence of the characters (91%), allowing them to better adapt to their psychosocial characterization (94%) or moment of the dramatic arc (95%). Eighty-five percent of the respondents continue to use it in their professional life as scriptwriters after completing their training or state that they pass it on in their classes when they work as teachers.La creación de diálogos es una fase esencial de la escritura de guiones audiovisuales. Este artículo explica el sistema de análisis de textos dramáticos de William Layton, originalmente dirigido a la interpretación actoral, y lo aplica a la escritura de diálogos audiovisuales. También expone cómo se ha formado en este sistema a estudiantes de un Máster de guion y muestra su utilidad para la creación de diálogos a través de una encuesta a 85 alumnos de diferentes promociones. De ellos, el 59% tenía formación o experiencia previa en el audiovisual. Antes de conocer el método Layton, solo un 9% de la muestra manejaba otra técnica para crear diálogos y un 50% conocía consejos genéricos que guiaran el diseño de las conversaciones de sus personajes. Y es que las monografías técnicas o académicas sobre guion no ofrecen metodologías sistemáticas que permitan al aspirante a guionista iniciarse en la escritura de diálogos, solo presentan recomendaciones. Con la difusión de esta técnica para la creación de diálogos audiovisuales, este artículo pretende contribuir a evitar que esta carencia de metodologías sistemáticas se traslade a los programas formativos. Los encuestados confirman que este método favorece la síntesis (84%), la planificación previa de los diálogos y la funcionalidad de cada frase de los personajes (91%), permitiendo que estas se adecuen mejor a su caracterización psicosocial (94%) o momento del arco dramático (95%). Un 85% de los encuestados sigue empleándola, una vez terminada su formación, en su vida profesional como guionista o declara transmitirla en sus clases cuando trabaja como docente

Creación y difusión de recursos interactivos y audiovisuales para la formación en comunicación III

Esta propuesta de Innovación Docente consiste en el desarrollo de la plataforma web https://comunicahistoria.com, que divulga material realizado por los estudiantes y que, de una manera original, creativa, rigurosa y, sobre todo, amena, favorece el aprendizaje y las competencias profesionales, despierta el interés del alumnado por las materias e impulsa la creación de contenidos relacionados con los ámbitos de la comunicación y la historia.Depto. de Periodismo y Comunicación GlobalFac. de Ciencias de la InformaciónFALSEUniversidad Complutense de Madridsubmitte

Clonal chromosomal mosaicism and loss of chromosome Y in elderly men increase vulnerability for SARS-CoV-2

The pandemic caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2, COVID-19) had an estimated overall case fatality ratio of 1.38% (pre-vaccination), being 53% higher in males and increasing exponentially with age. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, we found 133 cases (1.42%) with detectable clonal mosaicism for chromosome alterations (mCA) and 226 males (5.08%) with acquired loss of chromosome Y (LOY). Individuals with clonal mosaic events (mCA and/or LOY) showed a 54% increase in the risk of COVID-19 lethality. LOY is associated with transcriptomic biomarkers of immune dysfunction, pro-coagulation activity and cardiovascular risk. Interferon-induced genes involved in the initial immune response to SARS-CoV-2 are also down-regulated in LOY. Thus, mCA and LOY underlie at least part of the sex-biased severity and mortality of COVID-19 in aging patients. Given its potential therapeutic and prognostic relevance, evaluation of clonal mosaicism should be implemented as biomarker of COVID-19 severity in elderly people. Among 9578 individuals diagnosed with COVID-19 in the SCOURGE study, individuals with clonal mosaic events (clonal mosaicism for chromosome alterations and/or loss of chromosome Y) showed an increased risk of COVID-19 lethality

La evolución del personaje del villano en el cine español (1982 – 2015)

This investigation analyses the figure of the villain in the Spanish movies between 1982 y 2015. It focuses on four movies for each period, particularly the ones that have been more successful. It studies their villain’s evolution, moral values, targets and relationship and differences with the main character. This paper shows that the figure of the villain has experienced important changes throughout these periods and that these have been influenciated by the social and cultural situation of Spain, as well as the narrative evolution of the archetype of the Shadow in film and television American fiction.Esta investigación tiene como objetivo analizar la figura del villano en el cine español entre 1982 y 2015. Se seleccionan las películas más taquilleras de cada década, y se lleva a cabo un análisis textual de estos personajes teniendo en cuenta su evolución, valores, objetivos y relación con el protagonista. Se demostrará que la figura del villano ha experimentado cambios importantes en cada etapa analizada y que estos cambios están influidos por la situación social y cultural del país

La evolución del personaje del villano en el cine español (1982 – 2015)

Esta investigación tiene como objetivo analizar la figura del villano en el cine español entre 1982 y 2015. Se seleccionan las películas más taquilleras de cada década, y se lleva a cabo un análisis textual de estos personajes teniendo en cuenta su evolución, valores, objetivos y relación con el protagonista. Se demostrará que la figura del villano ha experimentado cambios importantes en cada etapa analizada y que estos cambios están influidos por la situación social y cultural del país

The evolution of the villain in Spanish cinema (1982-2015)

This investigation analyses the figure of the villain in the Spanish movies between 1982 y 2015. It focuses on four movies for each period, particularly the ones that have been more successful. It studies their villain's evolution, moral values, targets and relationship and differences with the main character. This paper shows that the figure of the villain has experienced important changes throughout these periods and that these have been influenciated by the social and cultural situation of Spain, as well as the narrative evolution of the archetype of the Shadow in film and television American fiction.Esta investigación tiene como objetivo analizar la figura del villano en el cine español entre 1982 y 2015. Se seleccionan las películas más taquilleras de cada década, y se lleva a cabo un análisis textual de estos personajes teniendo en cuenta su evolución, valores, objetivos y relación con el protagonista. Se demostrará que la figura del villano ha experimentado cambios importantes en cada etapa analizada y que estos cambios están influidos por la situación social y cultural del país

Patient Characteristics Associated with Growth of Patient-Derived Tumor Implants in Mice (Patient-Derived Xenografts)

Background: patient-derived xenografts (PDXs) have defined the field of translational cancer research in recent years, becoming one of the most-used tools in early drug development. The process of establishing cancer models in mice has turned out to be challenging, since little research focuses on evaluating which factors impact engraftment success. We sought to determine the clinical, pathological, or molecular factors which may predict better engraftment rates in PDXs. Methods: between March 2017 and January 2021, tumor samples obtained from patients with primary or metastatic cancer were implanted into athymic nude mice. A full comprehensive evaluation of baseline factors associated with the patients and patients’ tumors was performed, with the goal of potentially identifying predictive markers of engraftment. We focused on clinical (patient factors) pathological (patients’ tumor samples) and molecular (patients’ tumor samples) characteristics, analyzed either by immunohistochemistry (IHC) or next-generation sequencing (NGS), which were associated with the likelihood of final engraftment, as well as with tumor growth rates in xenografts. Results: a total of 585 tumor samples were collected and implanted. Twenty-one failed to engraft, due to lack of malignant cells. Of 564 tumor-positive samples, 187 (33.2%) grew at time of analysis. The study was able to find correlation and predictive value for engraftment for the following: the use of systemic antibiotics by the patient within 2 weeks of sampling (38.1% (72/189) antibiotics- group vs. 30.7% (115/375) no-antibiotics) (p = 0.048), and the administration of systemic steroids to the patients within 2 weeks of sampling (41.5% (34/48) steroids vs. 31.7% (153/329), no-steroids) (p = 0.049). Regarding patient’s baseline tests, we found certain markers could help predict final engraftment success: for lactate dehydrogenase (LDH) levels, 34.1% (140/411) of tumors derived from patients with baseline blood LDH levels above the upper limit of normality (ULN) achieved growth, against 30.7% (47/153) with normal LDH (p = 0.047). Histological tumor characteristics, such as grade of differentiation, were also correlated. Grade 1: 25.4% (47/187), grade 2: 34.8% (65/187) and grade 3: 40.1% (75/187) tumors achieved successful growth (p = 0.043), suggesting the higher the grade, the higher the likelihood of success. Similarly, higher ki67 levels were also correlated with better engraftment rates: low (Ki67 p: 0.002). Other markers of aggressiveness such as the presence of lymphovascular invasion in tumor sample of origin was also predictive: 42.2% (97/230) with lymphovascular vs. 26.9% (90/334) of samples with no invasion (p = 0.0001). From the molecular standpoint, mismatch-repair-deficient (MMRd) tumors showed better engraftment rates: 62.1% (18/29) achieved growth vs. 40.8% (75/184) of proficient tumors (p = 0.026). A total of 84 PDX were breast models, among which 57.9% (11/19) ER-negative models grew, vs. 15.4% (10/65) of ER-positive models (p = 0.0001), also consonant with ER-negative tumors being more aggressive. BRAFmut cancers are more likely to achieve engraftment during the development of PDX models. Lastly, tumor growth rates during first passages can help establish a cutoff point for the decision-making process during PDX development, since the higher the tumor grades, the higher the likelihood of success. Conclusions: tumors with higher grade and Ki67 protein expression, lymphovascular and/or perineural invasion, with dMMR and are negative for ER expression have a higher probability of achieving growth in the process of PDX development. The use of steroids and/or antibiotics in the patient prior to sampling can also impact the likelihood of success in PDX development. Lastly, establishing a cutoff point for tumor growth rates could guide the decision-making process during PDX development

Creación y difusión de recursos interactivos y audiovisuales para la formación en comunicación

Depto. de Periodismo y Comunicación GlobalFac. de Ciencias de la InformaciónFALSEsubmitte

Creación y difusión de recursos interactivos y audiovisuales para la formación en Comunicación II

Después de crear durante el primer año del proyecto (curso 2020-2021) la plataforma https://comunicahistoria.com/ y la propuesta académica de trabajo colaborativo, se presenta esta segunda edición del mismo que propone el perfeccionamiento de esta plataforma interactiva y dinámica. Esta web está formada por material de elaboración propia, realizado en conjunto por estudiantes y docentes que, de una manera original, rigurosa y amena favorece el aprendizaje y las competencias profesionales, despierta el interés por las materias y propicia la creación de contenidos vinculados con los ámbitos de la comunicación y la historia, que se sitúan en los Grados de Periodismo y Comunicación Audiovisual de la Facultad de Ciencias de la Información