¿Y como hacemos para olvidar esas emociones que no quisieramos recordar nunca? El Cerebro parace guardar emociones por años, o por toda la vida, en cajones ocultos de un gran armario, aseguradod por claves neuronales y códigos moleculares llevados a cabo por proteínas especializadas. De esta forma olvidamos, pero también todas las memorias afectivas, estan moduladas por hormonas, como la oxitocina, los estrogenos, la progesterona, que se encuentran presentes tanto en hombres, como en mujeres.

La activación del impulso nervioso, depende del intercambio de iones que fluye a través de la membrana.Así es la actividad eléctrica y físico-química de nuestras neuronas y todo depende de una gran maquinaria proteica.Toda la acción neuronal, depende del flujo de estas moléculas a través de canales iónicos; proteínas selectivas que sirven para finalmente, integrar sofisticados procesos del sistema nervioso.

En la actualidad es posible concebir que el procesamiento cerebral se lleva a cabo por medio de redes neuronales. Asi, las neuronas se alinean en un conjunto de células afines como si fuera un mismo edificio, o una misma empresa donde todas tienen una misma especialización, para lograr mejor su cometido: el de comunicar y transferir información de la manera más completa y eficientemente posible.

This updated and expanded edition gives critical analyses of 23 Latin American films from the last 20 years, including the addition of four films from Bolivia. Explored throughout the text are seven crucial themes: the indigenous image, sexuality, childhood, female protagonists, crime and corruption, fratricidal wars, and writers as characters. Designed for general and scholarly interest, as well as a guide for teachers of Hispanic culture or Latin American film and literature, the book provides a sweeping look at the logistical circumstances of filmmaking in the region along with the criteria involved in interpreting a Latin American film. It includes interviews with and brief biographies of influential filmmakers, along with film synopses, production details and credits, transcripts of selected scenes, and suggestions for discussion and analysis.

The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities.

When it began, modern Spanish cinema was under strict censorship, forced to conform to the ideological demands of the Nationalist regime. In 1950, the New Spanish Cinema was born as a protest over General Francisco Franco's policies: a new series of directors and films began to move away from the conformist line to offer a bold brand of Spanish realism. In the 1950s and early 1960s, filmmakers such as Juan Antonio Bardem, Luis García Berlanga, and Luis Buñuel expressed a liberal image of Spain to the world in such films as Muerte de un ciclista (Death of a Cyclist), Bienvenido Señor Marshall (Welcome Mr. Marshall), and Viridiana. The emergence of new directors continued into the sixties and seventies with Carlos Saura, José Luis Borau, Víctor Erice, and others. After Franco's death in 1975, censorship was abolished and films openly explored such formerly taboo subjects as sexuality, drugs, the church, the army, and the Civil War. The Spanish cinema was no longer escapist and entertaining but, at long last, mirrored the society it depicted. While established directors like Saura, Bardem, and Berlanga continued to produce distinguished work, the "new wave" of Spanish cinema included brilliant films by the likes of Montxo Armendáriz (Tasio), Fernando Trueba (First Work), Imanol Uribe (The Death of Mikel), and Pedro Almodóvar (Women on the Verge of a Nervous Breakdown). In the last couple of decades, exciting works by established filmmakers and newcomers alike continue to be produced, including Alejandro Amenábar's Thesis, José Luis Garcí's The Grandfather, and Almodóvar's Talk to Her and Volver. In Great Spanish Films Since 1950, Ronald Schwartz presents a compendium of outstanding Spanish films from the pre-Francoist era through the Spanish New Wave of the 80's and 90's and into the present day. Schwartz provides background, plot, and commentaries of key films from six decades of Spanish cinema. In addition to identifying

Sometimes, memories are like feathers that can fly into our cerebral labyrinths, taking a ship for sail, crossing neural networks like the flow of ethereal butterflies. In other situations, our remembrances are settled down like deep roots of strong trees.This book introduces also an experimental protocol, about conceptual neurons and how these nerve cells can identify emotional insights when they discriminate an iconic sample (a famous human image, well spread all over the world).Finally, analyzing the Working Memory Paradigm, this text describes new neuronal networks participating in neuronal processing like mental representations in predictive tasks associated to prefrontal cortex.