Contemporary television fiction series is frequently described from concepts such as narrative risk, creativity, originality, and also transgression of technical and argumentative topics. However, some analyses conducted from epistemological non-hegemonic approaches, such as Gender Studies, feminist studies, studies on men and masculinity, LGBTI studies or Queer Theory, among others, have found that such transgressions are not always produced in relation to gender identities. Through a theoretical and aesthetic methodology, this article offers a tour through paradigmatic series with the purpose of making a reflection on the presence or absence of gender binary system

This article is an attempt to show that other speeches and film works have been produced together with a Canonic manner of understanding the documentary film. These speeches and works clearly show that this audiovisual practice has not been limited to the function of informing and serving as an ideological instrument. In this sense, the text is a proposal to place some transformations of this practice in the contemporary context based on the changes seen in the field of the most traditional arts.

In Colombia, due to the war for the territory and to violence, thousands of communities are submitted to forced displacements: this uncontrollable force which today, dislocates, expulses, de-situates millions of people from their spaces and submits them to the dictatorship of intolerance.

In the text, The De-winged Goddess, the body is analyzed as a space and the problem of forced displacements is approached from an esthetical and communicational perspec­tive. In the body expressions of the displaced person, there is a projective representation of his story, of his silent duels, the uncertainty that marks him, the problematic which in essence has restricted his liberty, and of the independence to be decided upon.

El artículo Un acercamiento a los videos-clips de hip hop en Medellín hace parte del proyecto de investigación Mediaciones musicales juveniles desarrollado por el grupo Discurso, Organización y Política de la Universidad de Medellín dirigido por la profesora Ángela Garcés Montoya. El texto conceptualiza, en una primera parte, el vídeo clip y de dónde proviene, identificando sus principales características y
los variados elementos estéticos propios de su lenguaje audiovisual. En la segunda parte se realiza un análisis estético del vídeo clip en América Latina, relacionando agrupaciones reconocidas en Latinoamérica como Aterciopelados, Molotov y
Plastilina Mosh; y por último, nos acercamos al estudio de las propuestas estéticas locales, propias de los videos-clips de hip hop en la ciudad de Medellín, que son el resultado de una forma particular de producción y expresión juveniles.