Documentación de las Ciencias de la Información
Documentación de las Ciencias de la Información (ISSN 0210-4210, ISSN-e 1988-2890) is an annual journal that publishes research articles and technical work on Information and Documentation Sciences applied to Social Communication and its speciality areas: Internet and Digital Information, Journalism, Television, Radio, Cinema, Photography, Advertising and Public Relations.
In order to support the global exchange of knowledge, the journal Documentación de las Ciencias de la Información is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. The originals published in this journal are the property of the Complutense University of Madrid and any reproduction thereof in full or in part must cite the source. All content is distributed under a Creative Commons Attribution 4.0 use and distribution licence (CC BY 4.0). This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence.
Financing audiovisuals through crowdfunding: the case of "Juan y la nube"
This article studies the possibilities of financing audiovisuals through crowdfunding (CF). The model of financing by CF is described as well as the different advantages that this alternative model of financing provides promotors. The main features of the chosen CF procedure to finance the short film Juan y la nube (that was awarded with the Goya prize to the best entertainment short film of 2015) will also be described in length. The main reasons that lead sponsors to finance projects are also subject to comment.
Artificial Intelligence and Film Criticism: A Bibliometric Study on the Emotional Dimension in Film Interpretation
This article presents a bibliometric study that examines how recent scientific literature addresses the relationship between artificial intelligence (AI), film criticism, and human emotions. Based on the analysis of three academic databases (Scopus, Web of Science, and Dialnet), the study identifies key research trends between 2014 and 2024. Findings reveal a growing academic interest in AI and emotionality within artistic and narrative environments, though with diverse focal points. While Scopus and WoS emphasize technological and visual aspects, Dialnet offers a more ethical and educational perspective. However, there is a notable absence of studies that explore emotional analysis in film criticism through natural language processing (NLP). This gap highlights the need for future interdisciplinary research capable of integrating linguistic and hermeneutic approaches to address subjectivity and emotional depth, particularly as AI-generated texts become increasingly sophisticated.
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Preventing disinformation and implementation of media literacy in adolescents through play
Teenagers are vulnerable to misinformation, and the introduction of Media and Information Literacy into the Spanish education system is still pending. The urgency to accelerate the implementation of disinformation prevention strategies was evident from the summer of 2020 onwards as a consequence of the intoxication of numerous false news stories resulting from the COVID-19 pandemic. It is in this period when the need for journalism education promoted through digital and media literacy became evident (Sádaba and Salaverría, 2022). This work rescues and analyses proposals for media literacy through games in order to eradicate the problem of misinformation from the base, education. To do so, it uses a qualitative and exploratory methodology in three stages: the first consists of a literature review on the problem; the second, a content analysis of AMI projects for the promotion of digital competence and lifelong learning among students; the third qualitatively evaluates the previous ones on a rubric of its own. The results show concern about misinformation and the growing disaffection of the adolescent population with the media and journalism. At the same time, it highlights the importance of including this 21st-century subject in Spanish educational curricula, which is not yet the case. In this regard, the projects analysed use different methodologies that can serve as examples for the development of teaching programmes and other innovative AMI activities.
Basic fashion information resources: bibliographic sources, memory institutions, and content objects
The development of bibliographic references and information resources makes perfect sense in view of the relevance acquired by postgraduate studies and the strengthening of professional activities in the fashion sector. The sources provide the basis for the concepts of academic work and give precision and meaning to the tasks, especially when they are of scientific, productive or commercial communication. The repertoire has on the one hand, bibliographic attributes, as the section dedicated to fashion bibliographies reveals. This is followed by specialised information resources, in particular encyclopaedias, manuals and treatises on the history of fashion, as well as dictionaries and works on terminology. The bibliographic character is still evident in the lists of scientific journals that study fashion, although they are now presented as technical documentation resources, without forgetting the general fashion and beauty journals. Archives and libraries, as well as documentation centres and museums, are identified and described as fashion memory institutions. Finally, digital information sources include fashion databases and platforms, especially websites and blogs. Each of the sources covered incorporates traces of lives and contexts that dialogue with the aesthetic, the political and the social. Ultimately, systematically organising these sources strengthens the rigour of investigations and broadens the scope for a critical understanding of fashion. This consolidates fashion's status as an interdisciplinary and dynamic subject.
Thinking: programme information obsolescence versus the criteria of novelty, proximity or public interest
Programmed information obsolescence is a term first mentioned by Jurado (2023) in the publication La Mirada mediática. Una revisión de la actualidad desde las Teorías de la Comunicación and refers to the conscious expiration that is practised in the media by its companies and professionals. According to this concept, business criteria take precedence over the interests of the subjects in order to shorten or lengthen the duration of the dissemination of the subjects. In this new book on information obsolescence, researchers and professionals analyse and criticise this system, which leaves fundamental aspects of the functions of journalism and communication in the background: novelty, proximity or public interest, for example.
Advertising and engagement in Tik Tok: Analysis of the strategies used by Nude Project and Pull & Bear to connect with generation Z
The advent of social networks has completely transformed the way companies communicate with their audiences. In this context, Tik Tok has broken through in terms of its viralization model and its connection with young people. In a social environment characterized by instant consumption, hyper-personalization and content saturation, brands today face the challenge of capturing the difficult attention of a new generation, Generation Z, which prioritizes authenticity, emotional connection and entertainment over the traditional advertising of conventional media. This paper analyzes how two fashion brands, Nude Project and Pull and Bear, adapt their advertising strategies to the particularities of this platform. It is based on the hipothesis that it is not the investment in video promotion that generates the greatest impact, but the ability of a brand to integrate organically into the dynamics of the Tik Tok algorithm and connect emotionally with users. The methodology is carried out though a qualitative and quantitative analysis of the content and its main metrics of the videos published by the official Tik Tok accounts of Pull and Bear and Nude Project between October 2024 and January 2025 and is complemented by a survey directed to users of the platform. The results reflect which types of videos get higher engagement rates and why. Thus, this research offers a current view of the impact of Tik Tok in the advertising strategy of brands and highlights the importance of authenticity as a key to connect with the new generations.
Exploring Female Hypersexualization on Instagram: Mapping and Analysis of Hashtags and Artificial Intelligence-Generated Images
The objective of this study is to investigate the role of hashtags and advanced AI technologies, such as Generative Adversarial Networks, in amplifying and disseminating hypersexualised images of women on Instagram. Using case study analysis of public Instagram data, data collection involved web scraping techniques and analysis of hashtags related to AI-generated images, particularly those associated with the hypersexualisation of women. A combination of text mining, frequency analysis, and network analysis using Gephi software was utilized to interpret the data. Results indicated that hashtags such as #aigirl, #aiart, and #stablediffusion are frequently used in posts featuring hypersexualised images of women, facilitating the rapid and organised dissemination of such content and raising significant ethical and safety concerns. The study also highlighted the presence of problematic content even in moderated hashtags, revealing limitations in current content moderation practices. In conclusion, while hashtags effectively organise and promote content on social networks, they can also contribute to the propagation of harmful stereotypes and the objectification of women, exacerbated by AI-generated images.
Innovation and Sustainability in Fashion Brand Communications. Analysis of the Paradigmatic Case of “Bask” as a Local Proposal for a Global Industry
Corporate Social Responsibility (CSR) in the fashion sector is currently focusing on the key issue of sustainability. There is a growing trend for consumers to demand changes in the production model of the fashion industry, with a special focus on the recycling of used garments. This paper reviews the state of the art and reviews the latest publications and trends in the field of sustainability applied to fashion. It also uses working papers from business consulting firms and environmental social organizations for the protection of our environment. The research takes as a case study the Basque brand BASK with an innovative proposal for a business model and communication strategies based on sustainability and awareness. The method of case analysis, an in-depth interview with its top manager and a survey are used to study the perception of society. Without a doubt, the company analysed is identified as a slow fashion brand that maintains a sustainable discourse in a coherent manner, starting with the cooperative business model, in which the horizontal nature of the different members that make up the organisation is guaranteed. Furthermore, from the outset they pursue sustainable methodologies focused on using fewer and more efficient natural resources, they are committed to education, awareness-raising and activism through their communication campaigns and they implement actions with a real, dignified and sustainable impact on working conditions.
High fashion archives, artificial intelligence, and the homogenization of the ideal body
The present article analyzes the role of digital high fashion archives in the training of generative artificial intelligence (AI) models and examines how these datasets contribute to the reproduction and the reinforcement of a normative body ideal. Far from being neutral repositories, these archives actively participate in the consolidation of a scopic regime that privileges specific physical traits—extreme thinness, youth, and whiteness—at the expense of bodily diversity. Drawing on an interdisciplinary approach that integrates fashion studies, critical technology studies, and visual studies, the article examines the relationship between the historical curation of fashion archives and contemporary algorithmic biases. The study is conducted in two phases: a visual genealogy of the body ideal in twentieth-century fashion photography, and an empirical analysis of images generated by AI models such as Midjourney and Stable Diffusion. The findings show that these systems not only replicate archival standards but also intensify them through processes of algorithmic homogenization. The article argues that the apparent objectivity of AI reinforces exclusionary dynamics of bodily representation, with significant social, cultural, and political implications, and calls for more critical and responsible practices of data curation and algorithmic design.
From the Press to the Market: The Promotion of Italian Prêt-à-Porter in Spain through the Historical Archive of the Camera Nazionale della Moda Italiana
In the 1980s, after Spain’s accession to the European Economic Community as a full member —a development that allowed foreign manufacturers to market their products directly without relying on the system of licenses granted to local distributors— the conditions for a broader internationalization of fashion distribution were consolidated. Within this framework, in 1987 the Camera Nazionale della Moda Italiana (National Chamber of Italian Fashion) and the Istituto Nazionale per il Commercio Estero (Italian Institute for Foreign Trade) organized a collective fashion show of Italian designers in the Palacio de Cristal in Madrid’s Retiro Park. The aim was for the event to serve as the starting point for a series of initiatives designed to facilitate the penetration of the Spanish market. This article reconstructs the preparatory organization of the event through archival documentation produced by the CNMI and preserved at Università Commerciale Luigi Bocconi in Milan. Furthermore, by analyzing press materials, the study expands its scope to the reception of Italian fashion in Spain, both in the press and in trade fairs, from the end of the Second World War onwards.
The Media and Visual Documentation of the Medical Face Mask by the Fashion System during COVID-19: Transtextual Processes
The COVID-19 pandemic generated a profound symbolic reconfiguration across multiple cultural domains, including the fashion system. This article analyses how media and visual documentation produced by fashion, through processes of transtextuality, resignified the medical mask, transforming it from a functional and antiviral object into an aesthetic, symbolic, and identity-bearing sign. Adopting a qualitative and interpretative approach, the study applies documentary and semiotic analysis, grounded in Gérard Genette’s theory of transtextuality, to a corpus of visual and textual materials produced between 2020 and 2021. The analysis is structured around three main categories – intertextuality, paratextuality, and hypertextuality – examined through representative cases drawn from fashion’s media documentation. The findings show that fashion acted simultaneously as an aesthetic mediator and an agent of cultural documentation, incorporating references from popular culture, scientific discourse, and branding strategies into the visual construction of the mask. Through mediatization and the circulation of images across media and digital platforms, the mask became consolidated as a hybrid object that articulates protection, style, and symbolic belonging. The study confirms that fashion’s media and visual documentation played a central role in the cultural resignification of the mask during the pandemic, contributing to the production of a symbolic archive that records the tensions between the functional, the aesthetic, and the social in contexts of global crisis.
From the Archive to Digital Assets: Documentation and Brand Legacy in Virtual Environments. Gucci Aria, MetaTABI, Cristóbal Balenciaga: To The Moon
This article examines how luxury fashion houses activate their documentary legacy, like archives, sign systems, and historical narratives, in other to the new generations through digital assets (NFTs) and immersive environments (metaverses). Drawing from the information science and document theory, we understand the NFT as a documentary “artifact” (metadata, provenance, and traceability) and, simultaneously, as a communication device that recontextualizes brand heritage. Methodologically, a case study is presented with documentary profiles and an analysis of content and paratexts: Gucci Aria (a documentary video in NFT format auctioned by Christie’s), Maison Margiela’s MetaTABI (a phygital format of the iconic boots and a mint pass), and Cristóbal Balenciaga: To The Moon (an NFT collection curated by Lorenzo Riva that draws on Cristóbal Balenciaga’s original designs; a creation not related with the current Balenciaga brand). The analysis is organized around the “memory-backing-uses” model, which integrates criteria for assessing how these media expand the documentation and fashion preservation, and aiming to identify the activation of communities and utilities (unlockable) to foster the intergenerational transmission of brand meaning. We discuss challenges related to metadata standardization and platform dependency. Criteria are also set out for curation and preservation in brand archives and documentation centres and examine new narratives that allow to understand the recontextualization of brands heritage indicators (archive, iconography, and authorship).
From paper to screen: digital metamorphosis and strategies used by fashion magazines
For more than three centuries, fashion magazines have been key players in shaping consumer behaviour, acting as trend setters and cultural arbiters with the power to mould desires and purchasing decisions. However, the digital transformation that began in the 2000s has radically reconfigured the fashion media ecosystem, challenging the traditional model of these publications. This article presents a systematic review of the literature that traces the evolution of the role of fashion magazines in consumer behaviour from the print era to the digital era. Through the analysis of academic and documentary sources, it identifies the structural changes, new mechanisms of influence and adaptation strategies developed by traditional magazines in response to the emergence of new players such as influencers and social media platforms. The results reveal that fashion magazines have not disappeared but have undergone a metamorphosis from exclusive prescribers to specialised curators in a diversified media ecosystem. It is concluded that the future of these media lies in a hybrid model that combines traditional editorial authority with the participatory dynamics of digital culture.
Why We Non-Roma Women Dress as “Gitana”: Cultural Appropriation and the Construction of Flamenco Fashion in the Historical Press (1850–1950)
Is it the same to dress as a “gitana” as to dress as a “flamenca”? Through a content analysis of a corpus of 67 texts mentioning the terms “traje de gitana” and “traje de flamenca”, this study explores the contexts and meanings associated with these expressions to understand how they were represented in Spanish historical press between 1850 and 1950. A qualitative approach supported by quantitative data allows the identification of usage patterns that reveal underlying social, political, and cultural realities and strategies. This requires, on the one hand, an understanding of the language functions present in different journalistic genres and, on the other, of the profiles of the figures wearing the garments described. The findings show recurrent depictions of aristocratic payas (non-Romani women) dressed as gitanas at masquerade balls, serialized novels in which the character wearing the costume is a working-class Romani woman, and texts where the attire appears in artistic contexts, typically worn by paya actresses portraying fictional Romani or popular characters. A shared logic runs through these representations: the bourgeois paya woman acts as a cultural consumer, while the Romani woman becomes an object of consumption and entertainment. The analyzed texts thus reveal dynamics of cultural appropriation, commodification, and decontextualization of Romani heritage by the payo and bourgeois world, culminating in a popular reappropriation of the costume—now resignified. In Francoist press, young women from Sevillian towns begin to dress “de flamenca.” Today, this has evolved into what is known as the flamenco fashion industry.
An approach to Miguel Adrover: sustainability, anti-capitalism, multiculturalism, and national identity in Spanish fashion design
This article examines the work of Spanish fashion designer Miguel Adrover (Calonge, 1965) through an interdisciplinary approach combining visual and discourse analysis. Drawing on his collections, media coverage, interviews, social media, and documentaries, it reconstructs his career. It explores the central debates that define his work: sustainability, anti-capitalism, multiculturalism (with a focus on Orientalism), and patriotism. Given the lack of academic research on Adrover, this study aims to establish a theoretical and critical framework for his work, positioning him as a key figure within contemporary fashion studies and as an example of the tensions between creativity, system, and politics in global fashion.
Furtive Portraits: Microgestures, Proxemics, and the Institutional Scene in Marisa Flórez’s Images during Spain’s Transition
This article explores political portraiture in the work of Spanish photojournalist Marisa Flórez during the democratic Transition, focusing on images produced in the Congress of Deputies and circulated in the general press. Building on the premise that news photography can generate portraiture “in action,” the study examines how Flórez individualises key political actors without pose, through micro-gestures, gazes, proxemics and ways of occupying institutional space. In parliament—both public stage and backstage of negotiation—politics becomes legible as a corporeal choreography: corridors, clusters and threshold spaces prove especially productive for revealing fissures in the public mask and for making political personality visible. Methodologically, the paper combines a qualitative case-based approach (formal/technical, compositional-gestural and contextual-discursive analysis, including page layout and editorial function) with a descriptive quantitative analysis of the hemerographic corpus aimed at mapping the presence, distribution and editorial visibility of portraits. On this basis, it advances the notion of the “furtive portrait” to describe a visual regime that does not suspend politics in order to stage presentation, but rather extracts from the event-flow the minimal signs through which leadership becomes socially recognisable. In this framework, charisma emerges not as an abstract attribute but as an effect produced at the intersection of bodily presence, parliamentary scene and media circulation.
Strategies for showcasing fashion design in non‑specialized museum institutions in Madrid, Spain – 2000-2025
The increasing cultural interest in fashion design has encouraged its documentation and legitimization in museums and exhibition spaces. The curatorial research carried out in this article studies the role of museum institutions in the revaluation of fashion design as an artistic expression. To this end, six specific exhibitions out of a total of fifteen are analyzed, observing the staging of the exhibition project and the relationship between different works and pieces of fashion design. The exhibitions analyzed have been held in various museums other than the Museo del Traje in Madrid, Spain, dedicated to figures such as Pertegaz, Balenciaga and Jean Paul Gaultier. This article analyses fashion design as an artistic expression, explores its presence in cultural institutions and emphasizes its importance as an object of study and exhibition in the field of art and contemporary culture.
Prólogo del monográfico "Documentación y Moda"
The nude body in photographic archives: between access and concealment
This article analyzes the photographed nude body as a perceptible document to be part of archives and the importance of its catalographic description to allow access. To this end, three examples belonging to Mexican archives are exposed and analyzed.
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The photographic collection of the National Institute of Industry (INI): A window on twentieth-century Spanish industry
The role of the National Institute of Industry (INI) in Spanish industry during much of the 20th century and its interest in publicizing the activities of the companies in which participated, led to the creation of an audiovisual fund that is described the photographic collection on the occasion of its upcoming dissemination on the SEPI institutional website. This photographic collection is an interesting support material for the study of industrial development in Spain, by providing a follow-up story of industrial constructions, technical activities, works, machinery, institutional visits, etc., of INI companies with the photographs periodically requested by the Institute.
Scientific production on VOD and television: a meta-research on the global phenomenon and the Spanish production
This paper deals with a meta-research on the scientific production on television and VOD. Using a mixed methodology that integrates systematic review and content analysis, a genuine study is carried out covering the research indexed in Scopus from its first registration until the year 2024. The analysis is developed in two aspects: global production and specific production on content in Spain. The sample is composed of 207 indexed papers on VOD and television in general, and 19 papers whose object of study is this topic in the Spanish context. The results obtained reveal the strengthening and consolidation of the discipline at all levels, especially highlighting the recent establishment of the object of study in Spanish. The conclusions reflect on the growing interest and specialization of research in line with the rise of technologies and the transformation of the audiovisual industry.
Impure, independent or proletarian: the positioning of Manuel Villegas López in 1936
The debate on the role of film criticism in times of the Republic motivated critics to group together into different opposing organizations. Between them: the Union of Film Editors, which represented business interests and was accused of being prevaricating and dishonest; the Group of Independent Film Writers, which brought together liberals and was accused of being elitist and pretentious; and the Friends of Our Cinema Association, a Marxist organization accused of being materialist and revolutionary. The article studies the position of film critic Manuel Villegas López in this debate. Considering the analysis of his texts, we maintain that he moves from a Liberal position to a Marxist one.
Cinema in Badajoz through the analysis of the documentation contained in the Ecclesiastical Archives: the Autopista Cinema
The Catholic Church has managed parish cinemas for a long time. This work identifies and analyzes the documentation held in the diocesan archive of the Ecclesiastical Archives of Mérida-Badajoz (AEME-BA), with special mention of one of the most emblematic parish cinemas: the Autopista Cinema. The objectives we aim to achieve are: to identify ecclesiastical sources for the study of cinema; to analyze the Autopista Cinema in Badajoz through the identified ecclesiastical sources; and finally, to study the Autopista Cinema as a catechetical tool for the society of Badajoz. The methodology used to achieve these objectives is twofold: on one hand, archival techniques that will allow us to identify, classify, and describe the documentation; and on the other hand, historical analysis of a hermeneutic nature that will provide data for a filmic examination and its doctrinal values. It is concluded that cinema becomes an important tool for the Church in strengthening Catholic values and morality.
The role of film criticism in distributors’ promotional strategies
Film criticism is a profession that, by its nature, requires freedom and independence. However, for film distributors, criticism is an important piece in the strategies of promoting a film. Distributors respect the independence of critics, but try to positively influence their perception and reception of the film, through certain marketing instruments and strategies, as well as the provision of information.
This paper reviews a trend that has gained presence in contemporary criticism: Politique des acteurs. The very concept to which we allude borrows the most famous moment of film criticism,`le politique des auteurs´, to exchange the last concept, but announcing the type of criticism it practices: the analysis, both formal and narrative, of a work as a whole, but from the actor’s point of view. How an actor conditions the staging with his gestures, his way of acting, his own physicality, how they impose the rhythm or tone. But also their evolution, their refutations, their place as narrators of themselves -in a story sustained over time-, and as filmmakers -as they decide to participate in a certain mise-en-scène or help to write cinematographically in the shot. In short, `le politique des acteurs´ understands the corpus of an actor as it has historically been done with the auteur.
De las salas de arte y ensayo a la cinefilia crítica: el legado del Círculo A
This article analyzes Círculo A, a collective that promoted auteur cinema in Barcelona during the Franco regime. Based on interviews with its founders, Jaume Figueras and Antoni Kirchner, the study examines how this group transformed film programming and exhibition, creating a new cultural paradigm. Círculo A circumvented censorship by screening films in their original version and fostering debate. Its 'Enigma Nights' and the unique atmosphere of its cinemas attracted audiences. The success of films such as Bagdad Café (Adlon, 1987) demonstrated the public's interest in alternative cinema. The Círculo A model has inspired contemporary festivals and digital platforms. This article highlights the collective's role in the modernization of cinema in Spain and in shaping a critical cinephile culture.
Vodcasting and specialised film journalism. A new media for reflection on the seventh art
The cinema, an art and a discipline with great relevance for citizens since its birth at the end of the 19th century, is currently an area of journalistic specialisation within the field of Culture, with an extensive trajectory that goes beyond its presence in traditional media or in specific journalistic genres such as film criticism. The incorporation of the Internet has made possible the emergence of new opportunities for film journalism, which can also be consumed on social media and platforms such as video podcasting. This is the case of RTVE's vodcast ‘El último programa’, where its presenters —three film critics and expert journalists— analyse and reflect on contemporary films available on the digital platform of Spain's public audiovisual corporation. And they do so with a varied number of thematic contents, connecting ideas, stories and films. Among the results, we observe an adequate work of editing, production and audiovisual production, which denotes the good work of a technical and human team at a professional level. In conclusion, thanks to its close style and touches of humour, ‘El último programa’ is presented as a different programme from the reality of video podcasting, which is also a new journalistic narrative for lovers of the seventh art.
The model of film criticism in the first phase of Dirigido por... (1972-1989)
The article analyzes the evolution of film criticism published in the journal Dirigido por... during its first stage (1972-1989). Founded in the context of the late Francoist period by Edmundo Orts Climent, the journal emerged during a transitional time after the disappearance of reference publications like Film Ideal and Nuestro Cine. Initially, it focused on special issues about filmmakers, where criticism evolved from being a simple compilation of external sources to developing and consolidating a specialized discourse aimed at a broader audience.
The figure of the film explainer in silent films
The origins of cinematography are marked by the presence of oratory: the figure of the silent film explainer arose almost immediately after the first screenings in cinemas to meet the demands of the first film spectators. These professionals narrated the events of the films, but also interpreted them through linguistic, vocal and gestural resources. As speakers and entertainers, they succeeded in instructing viewers in the language of film while entertaining and became highly successful and well-known personalities. However, despite their relevance in the early years of the seventh art, silent film explainers are not known to most audiences. For this reason, this research seeks to define and contextualize this figure within the history of cinema, to link the origins and characteristics of the explainer with oratory and to make visible his work, which had a lot to do with the development of narrative and cinematographic staging.
Underground film criticism via Star magazine (1974-1980)
Star is an example of a publication that contributes to exposing cinematographic critiques of underground cinema, as well as emerging practices of audiovisual works whose distribution is minority or unknown for the social context of the transition that Spain is experiencing. At the same time, this magazine establishes a bridge for the establishment of new ways of understanding the effervescence of cinematographic currents that, together with other subcultural and countercultural phenomena such as comics, music or fanzines, are beginning to acquire a certain interest in the entry into new avant-garde areas of the cultural industries. This article aims to investigate the themes, authors and film critics who were committed to making these film currents visible in a process of social and cultural legitimation. To do so, a search has been carried out through all the issues of the magazine with the purpose of offering from a content perspective the films, directors and trends that were made known, as well as the people who signed these critiques. Similarly, a link is established with the historical context between the years 1974 and 1980, a period covered by the publication and which coincides with a particular moment of effervescence for marginal, subcultural and countercultural publications within the democratic transition, from the end of the so-called openness or late Francoism to the beginnings of the establishment of democracy in Spain.