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Sports journalistic programs of infotainment have become highly relevant in recent years. However, the visibility of women journalists in this type of programs is minimal compared to their male colleagues and is often a decorative presence. This article highlight the sexist practices in the intrinsic narrative of Peruvian sports journalistic programs establishing differences between the programs that are broadcast by cable and the programs that are broadcast simultaneously in multiplatform mode over cable, radio, Youtube and Facebook. Through a methodological study with a qualitative approach, a content analysis guide was applied to eight episodes of Exitosa Deportes, Fox Sports Radio Peru, De fútbol se habla así and Equipo F. As a result, the heteronormative profile of the women journalists involved and their invisibilized role based on their actions and participation within the different sections of the program were identified in both kind of programs. Nevertheless, the main result of this research was that sports journalistic programs on Internet produce an environment conducive to mansplaining more regularly than on cable television where there are more rules that do not allow or in any case make up the way in which gender stereotypes are perpetuate on professional profile of women journalists. Also, multiplatform programs promote an inequal environment where mansplaining is constantly generated delegitimizing women knowledge of sports issues. We conclude that this type of infotainment content continues to minimizing women presence in media and social media spaces. Therefore, this study contributes to the existing literature in communication and media studies with a gender perspective and gender stereotypes in digital sports journalism.

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Cinema has always been a mirror of reality, therefore it is important to reflect on the role of Peruvian cinematography in the construction of identity and citizenship. The identity reflected in stories that are capable of generating a sense of national belonging among their audiences and citizenship understood as the condition that recognizes the characters in fiction with social and political rights. Since the boom of Peruvian commercial cinema, starting with the film Asu Mare, dozens of Peruvian films have been released each year with great public acceptance. That is why the research aimed to know how are the representations that build models of identification and citizenship from the Peruvian commercial cinematographic fiction in box-office films. The research was carried out from the interpretive paradigm with a qualitative approach through a case study. A content analysis guide was applied to three films of the musical comedy genre that develop multiple stories and are aimed at a young adult audience, produced by Tondero Films (Peru), which were a box office success in the year of their release. The analysis categories from a narrative perspective were: characters, context and conflict. The main results of this research showed that the characters have hegemonic traits, they have no agency, no past and do not correspond to Peruvian identification models. The situations and conflicts draw a conservative society that maintains heteronormative values and excludes representations that reflect the diversity of the Peruvian context where the story unfolds. The post-truth of the author's cinematographic truth becomes evident by offering a narrative that does not question the public with a story that, without ceasing to be commercial, has an artistic proposal. The article contributes to the research line of communication and film studies and opens a debate on what Peruvian cinema is and what elements from the narrative are likely to be valued to consider a production as national.

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