<?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>0121-1617</journal-id>
<journal-title><![CDATA[Historia Crítica]]></journal-title>
<abbrev-journal-title><![CDATA[hist.crit.]]></abbrev-journal-title>
<issn>0121-1617</issn>
<publisher>
<publisher-name><![CDATA[Departamento de Historia, Facultad de Ciencias Sociales, Universidad de los Andes]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0121-16172023000200117</article-id>
<article-id pub-id-type="doi">10.7440/histcrit88.2023.05</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[¿&#8220;Nueva&#8221; ola latina en Hollywood? Valor de mercado en la lógica operativa del cine estadounidense en el mundo iberoamericano]]></article-title>
<article-title xml:lang="en"><![CDATA[&#8220;New&#8221; Latino wave in Hollywood? Market value in the operational logic of U.S. cinema in the Ibero-American world]]></article-title>
<article-title xml:lang="pt"><![CDATA[&#8220;Nova&#8221; onda latina em Hollywood? Valor de mercado na lógica operacional do cinema estadunidense no mundo ibero-americano]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Peredo Castro]]></surname>
<given-names><![CDATA[Francisco]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>04</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>04</month>
<year>2023</year>
</pub-date>
<numero>88</numero>
<fpage>117</fpage>
<lpage>149</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0121-16172023000200117&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0121-16172023000200117&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0121-16172023000200117&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen  Objetivo/Contexto:  En el panorama fílmico mundial contemporáneo (1990 al siglo xxi), los medios cinematográficos aluden a una nueva gran &#8220;boga&#8221; latina en Hollywood. Este artículo propone estimular una reflexión y el debate sobre la forma en que Hollywood ha cultivado ese &#8220;furor&#8221; latino, desde la década de 1920 hasta la actualidad.  Metodología:  Con base en la historiografía sobre el proceso de construir, industrializar y exportar la &#8220;latinidad&#8221;, conjugada con documentación diplomática e información reciente de prensa, y desde un punto de vista de la economía política del cine en particular, este artículo establece la correlación entre la supuesta &#8220;latinización&#8221; de Hollywood y las razones histórico-económicas de la inclusión de elementos artísticos iberoamericanos en &#8220;la Meca del cine&#8221;.  Originalidad:  La mayoría de estudios sobre la &#8220;latinidad&#8221; en Hollywood pone el acento en la racialización, los estereotipos y los sesgos de la industria en su mirada sobre &#8220;los otros&#8221; que ha incorporado. La originalidad de este estudio radica en partir de las menos usuales perspectivas teóricas de la economía política del cine (en conjunción con información de estrategias y datos económicos circulante actualmente en la prensa), para explicar más claramente las razones del mito de la &#8220;latinización&#8221; del cine estadounidense y sus fines últimos. El artículo plantea una &#8220;latinidad&#8221; de causalidad y explicación económicas, y no solamente ideológicas, desde perspectivas teóricas sobre la otredad y sus implicaciones.  Conclusiones:  El análisis de esta fenómeno evidencia que los elementos artísticos iberoamericanos incorporados por Hollywood son estimados por su &#8220;valor de mercado&#8221;, como &#8220;insumos&#8221; necesarios/atractivos frente a las audiencias iberoamericanas más que por la realidad de su talento. Adicionalmente, la incorporación de los talentos iberoamericanos es útil para evadir eventuales competitividades con otras cinematografías, en una industria que, como Hollywood, es ante todo una institución económica y negocio.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract  Objective/Context:  In the contemporary world film landscape (the 1990s to the 21st century), the film media allude to a new great &#8220;Latino&#8221; furor in Hollywood. This article proposes to stimulate reflection and debate on how Hollywood has cultivated this Latino &#8220;rage&#8221; from the 1920s to the present.  Methodology:  Based on the historiography of the process of building, industrializing and exporting &#8220;Latino-ness,&#8221; combined with diplomatic documentation and recent press information, and from a political economy of cinema point of view in particular, this article establishes the correlation between the supposed &#8220;Latinization&#8221; of Hollywood and the historical-economic reasons for the inclusion of Ibero-American artistic elements in &#8220;the Mecca of cinema.&#8221;  Originality:  Most studies on Hollywood&#8217;s &#8220;Latinization&#8221; emphasize the industry&#8217;s racialization, stereotypes and biases in its view of the &#8220;others&#8221; it has incorporated. The originality of this study lies in drawing on the less usual theoretical perspectives of the political economy of cinema (in conjunction with information on strategies and economic data currently circulating in the press) to explain more clearly the reasons for the myth of the &#8220;Latinization&#8221; of American cinema and its ultimate ends. The article posits a &#8220;Latinization&#8221; of economic, and not just ideological, causation and its explanation from theoretical perspectives on otherness and its implications.  Conclusions:  The analysis of this phenomenon evidences that the Ibero-American artistic elements incorporated by Hollywood are estimated by their &#8220;market value&#8221; as necessary and attractive &#8220;inputs&#8221; in front of Ibero-American audiences rather than by the reality of their talent. Additionally, incorporating Ibero-American talent is helpful to avoid eventual competition with other cinematographies in an industry that, like Hollywood, is, above all, an economic institution and a business.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo  Objetivo/Contexto:  no panorama fílmico mundial contemporâneo (de 1990 ao século 21), os meios cinematográficos fazem alusão a uma nova grande &#8220;moda&#8221; latina em Hollywood. Neste artigo, propõe-se estimular uma reflexão e o debate sobre a forma que Hollywood vem cultivando esse &#8220;furor&#8221; latino desde a década de 1920 até a atualidade.  Metodologia:  com base na historiografia sobre o processo de construir, industrializar e exportar a &#8220;latinidade&#8221;, conjugada com documentação diplomática e informação recente de imprensa, e, do ponto de vista da economia política do cinema em particular, neste artigo, é estabelecida a inclusão de elementos artísticos ibero-americanos na &#8220;Meca do cinema&#8221;.  Originalidade:  a maioria de estudos sobre a &#8220;latinidade&#8221; em Hollywood enfatiza a racialização, estereótipos e vieses da indústria em sua visão sobre &#8220;os outros&#8221; que incorporaram. A originalidade deste artigo está em partir das menos usuais perspectivas teóricas da economia política do cinema (em conjunção com informação de estratégias e dados econômicos circulante atualmente na imprensa), para explicar mais claramente as razões do mito da &#8220;latinização&#8221; do cinema estadunidense e seus objetivos finais. Neste texto, é apresentada uma &#8220;latinidade&#8221; de causalidade e explicação econômicas, e não apenas ideológicas, sob perspectivas teóricas sobre a outridade e suas implicações.  Conclusões:  a análise desse fenômeno torna evidente que os elementos artísticos ibero-americanos incorporados por Hollywood são estimados por seu &#8220;valor de mercado&#8221;, como &#8220;insumos&#8221; necessários/atrativos ante as audiências ibero-americanas mais do que pela realidade de seu talento. Além disso, a incorporação dos talentos ibero-americanos é útil para evadir eventuais competitividades com outras cinematografias, numa indústria que, como Hollywood, é, sobretudo, uma instituição econômica e um negócio.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[audiencias]]></kwd>
<kwd lng="es"><![CDATA[cine iberoamericano]]></kwd>
<kwd lng="es"><![CDATA[commodities]]></kwd>
<kwd lng="es"><![CDATA[Hollywood]]></kwd>
<kwd lng="es"><![CDATA[latinidad]]></kwd>
<kwd lng="es"><![CDATA[mercados cinematográficos]]></kwd>
<kwd lng="en"><![CDATA[audiences]]></kwd>
<kwd lng="en"><![CDATA[commodities]]></kwd>
<kwd lng="en"><![CDATA[film market]]></kwd>
<kwd lng="en"><![CDATA[Hollywood]]></kwd>
<kwd lng="en"><![CDATA[Ibero-American cinema]]></kwd>
<kwd lng="en"><![CDATA[&#8220;latinization&#8221;]]></kwd>
<kwd lng="en"><![CDATA[Latin America]]></kwd>
<kwd lng="pt"><![CDATA[audiências]]></kwd>
<kwd lng="pt"><![CDATA[cinema ibero-americano]]></kwd>
<kwd lng="pt"><![CDATA[commodities]]></kwd>
<kwd lng="pt"><![CDATA[Hollywood]]></kwd>
<kwd lng="pt"><![CDATA[&#8220;latinidade&#8221;]]></kwd>
<kwd lng="pt"><![CDATA[mercados cinematográficos]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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