Instagram is one of the main social networking services personal style bloggers choose for interacting with followers. The goal of the present study is to detect the most common principles of visual composition and themes used by the world’s ten most influential bloggers. To achieve this goal we have employed a content analysis, using a sample of 503 Instagram images. The results indicate that the bloggers’ visual pattern of choice on Instagram corresponds to a wide shot with a full body view of the blogger against a significant background. The shot is taken at eye level angle and the predominant visual elements —the blogger and/or the product— are located in the centre of the photograph.

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Hulu knew what they were doing when they bet on the underlying story of The Handmaid's Tale (2017-), which manifests the importance of storytelling in the creation of modern myths. The series directly appeals to the human need for identity, belonging, and redemption. Based on Margaret Atwood's novel of the same name, The Handmaid's Tale is a depiction of a dystopian society, characterised by an absence of rights and freedoms. It has become a chilling political commentary focusing attention on the control of women's fertility, the objectification of women, religious fanaticism, women's roles in the persecution of other women in a patriarchal system, the persecution of homosexuality, and hyper-vigilance.

El lado oscuro de la maternidad: actualización de mitos en la película The Extraordinary Tale of the Times Table (2013) Resumen El cine a menudo bebe de historias ancestrales para llegar al corazón del público. Estas historias se componen de una serie de elementos configuradores esenciales del imaginario colectivo de las culturas a lo largo de la historia, que varían paralelamente a los cambios sociales. El objetivo principal de este estudio se centra en analizar cómo la película The Extraordinary Tale of the Times Table (2013), de José Francisco Ortuño y Laura Alvea reconstruye una invariante específica: el desprecio de la figura paterna/materna hacia el hijo, que se ha plasmado en numerosas ocasiones a través del mito de Tántalo, Saturno devorando a sus hijos, Hera o Medea, entre otros. En el audiovisual, el mito se estudiará canalizado a través de dos aspectos: por un lado, la utilización de elementos compositivos concretos (color, líneas, texturas, distribución de elementos en el cuadro), y por otro, se analiza el sentido profundo del texto para desentrañar la arquitectura del mito en el audiovisual a través de un estudio de caso. Referencias básicas de este análisis son los planteamientos metodológicos de Erwin Panofsky y Roland Barthes que ayudarán a ver de qué manera las preocupaciones existenciales del ser humano encuentran en el arte, en este caso el cine, un canal idóneo para actualizarse y adaptarse a la contemporaneidad.

The representation of women in advertising is based on constructs that have become consolidated in Western culture, giving rise to different archetypes that express the values and ways of thinking of each age. As in other media discourses, advertising resorts to elements, such as archetypes and myths, which shape the collective imaginary and are very effective devices, for they are recognizable to viewers and help to engage them. Specifically, this article focuses on car advertising, whose significance lies in the fact that it has traditionally been a sphere of male domination. In recent years, there has been a positive evolution towards more independent and autonomous female characters. Accordingly, this article analyses two of Audi’s most recent campaigns from 2016 and 2017 in order to observe how women are represented in car ads according to three fundamental aspects: visual semiotics (Arnheim’s Arte y percepción visual. Psicología del ojo creador, 2008; Casetti and Di Chio’s Cómo analizar un film, 1994; Van Leeuwen’s ‘Semiotics and iconography’, 2001), iconography (Cassirer’s Filosofía de las formas simbólicas, 1998); Panofsky’s ‘Iconografía e iconología: introducción al estudio del arte del Renacimiento, 1987) and symbolism grounded in a myth analysis of advertising (León’s Mitoanálisis de la publicidad, 2001).