{"id":1460,"date":"2012-01-10T12:00:16","date_gmt":"2012-01-10T11:00:16","guid":{"rendered":"http:\/\/www.mediosmejoresqueganenmas.org\/?p=1460"},"modified":"2014-07-18T23:10:20","modified_gmt":"2014-07-18T22:10:20","slug":"alguna-vez-se-han-preguntado-en-que-consiste-el-morbo","status":"publish","type":"post","link":"https:\/\/mediosmejoresqueganenmas.com\/en\/utiles-para\/utiles-para-creadores\/alguna-vez-se-han-preguntado-en-que-consiste-el-morbo","title":{"rendered":"Have you ever wondered  WHAT &#8220;MORBID&#8221; CONTENTS ARE?"},"content":{"rendered":"<div class='booster-block booster-read-block'>\n                <div class=\"twp-read-time\">\n                \t<i class=\"booster-icon twp-clock\"><\/i> <span>Read Time:<\/span>24 Minute, 24 Second                <\/div>\n\n            <\/div><p><\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 10); }P.western { font-family: \"Liberation Serif\",serif; font-size: 12pt; }P.cjk { font-family: \"DejaVu Sans\"; font-size: 12pt; }P.ctl { font-family: \"Lohit Hindi\"; font-size: 12pt; }A:link {  }\n--><\/style>\n<p>In our language, and according to the \u201c<em>Diccionario de la <\/em><span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/real-academia-espanola\">Real Academia Espa\u00f1ola<\/a><\/span><\/span><em>\u201d<\/em> (Dictionary of the Royal Spanish Academy), <strong>morbid means \u201ca change in health [&#8230;], illness\u201d<\/strong>. We may deduce that something is morbid when: 1) \u201cit causes illness\u201d, or 2), \u201ccauses unhealthy mental [&#8230;] reactions\u201d.<\/p>\n<p>In English, and according to the <a title=\"Definici\u00f3n de Morbid en Oxford OnLineDictionaries\" href=\"http:\/\/www.oxforddictionaries.com\/es\/definicion\/ingles\/morbid\">Oxford Dictionary,<\/a> <strong>\u201cmorbid\u201d<\/strong> refers to someone \u201c \u2026characterized by an abnormal and unhealthy interest in disturbing and unpleasant subjects, especially death and disease\u2026\u201d.<\/p>\n<p>In literary terminology, a morbid device is used to attract people&#8217;s attention; it&#8217;s a \u201chook\u201d. In previous articles we established that works with family-oriented contents, \u201ccleaner\u201d\/&#8221;more wholesome&#8221; ones (that is: those that least violate the values, ideas and beliefs of their target public), tend to be the most successful. So, isn&#8217;t it an inconsistency to accept we can use morbid devices to get people&#8217;s attention nowadays? No; let&#8217;s see why not:<\/p>\n<p>Firstly, a morbid device is a hook, although not the only one. Secondly, it&#8217;s a hook having a very brief, intense, but also volatile, impact, compared with others such as evocative devices (<em>cfr.<\/em> Cawelti; \u201c<em>Adventure, Mystery and Romance\u201d<\/em>; Univ. of Chicago Press; pp. 14 and 303 #2). Thirdly, it&#8217;s a hook that ultimately destroys itself, so that in the end \u2500and like a boomerang\u2500 it destroys the media source that used it.<\/p>\n<p>Let&#8217;s examine the previous three statements: The four devices used to structure contents, which function as \u201chooks\u201d to attract audiences, and that I have been able to identify to date, are suspense, hopeful anticipation, morbidity and humour. The works of Agatha Christie (who never had to resort to describing a cadaver&#8217;s decomposition to interest readers) provide a good example of the first; fairy tales comprise a classic example of the second; pornography is an extreme example of the third; and some examples of the fourth are: the Asterix comic-books, the Dilbert cartoons, <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/gila\">Gila<\/a><\/span><\/span>&#8216;s television shows, Chespirito&#8217;s (Roberto G\u00f3mez Bola\u00f1os) programs, or the 19th century &#8220;comedies of manners&#8221; by the <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/hermanos-alvarez-quintero\">Hermanos \u00c1lvarez Quintero<\/a><\/span><\/span> (the Alvarez Quintero brothers).<\/p>\n<p>[In 2011, 16 years after this article was first published, the <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/medios-de-comunicacion\">communications media<\/a><\/span><\/span> are also exploiting cognitive devices \u2500rather than literary ones\u2500, that generate such high levels of stress (oppression, anguish and anxiety) in their public, that they may well ultimately destroy the media source and the program using them. A prototypical example is the US television series <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/24-horas-en-la-vida-de-jack-bauer\">24<\/a><\/span><\/span><span style=\"color: #000080;\"><span style=\"color: #00000a;\"> (<a title=\"Wikipedia's -English- article about 24 hours in the life of Jack Bauer\" href=\"http:\/\/en.wikipedia.org\/wiki\/24_%28TV_series%29\"><em>24 hours in the life of Jack Bauer<\/em><\/a> in <em>Wikipedia<\/em>),\u00a0 <\/span><\/span> that immerses viewers in a succession of extremely serious situations, often life-and-death \u2500all about to explode; and which never provides us with all the information about what is happening despite the severity of what is being narrated \u2500the cameras don&#8217;t even show complete scenes, in addition to the fact that the camera brings us into them<em> &#8220;in media res&#8221;<\/em> (in progress), without showing us how the crisis situations arose, in order to increase vulnerability and anguish in viewers\u2500.<\/p>\n<p>What&#8217;s more: When one of these situations is resolved, they automatically start one \u2500or more\u2500 new &#8220;narrative lines&#8221;, equally anxiety-producing, in order to maintain the <em>cognitive arrest<\/em> generated in the public, with its corresponding physiological sensations (check out your pulse, etc., before, during and after viewing it). This generates such a high level of stress, that the viewer cannot stop watching&#8230; \u2500but not because he\/she&#8217;s enjoying him\/herself, <em>but rather because he\/she&#8217;s suffering<\/em>\u2500. And when the program ends, in fact, most people feel <strong>relieved<\/strong>,<em> not dreamy, happy or delighted&#8230;<\/em>]<\/p>\n<p>___<\/p>\n<p>Returning to the topic at hand, that of morbidity as a narrative \u201chook\u201d with short term impact:\u00a0 What are the disadvantages of resorting to it&#8230;?<\/p>\n<p>Let&#8217;s look at a few examples:<\/p>\n<p>a.1) Nowadays [that is: 1994-1995, when this article was originally published] Mexican children still listened to songs by \u201c<span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/cri-cri\">Cri-Cr\u00ed<\/a><\/span><\/span>\u201d, eight times as often as those by Gloria Trevi, in spite of the fact Trevi was then enjoying her greatest success (\u201cAnd <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/cri-cri\">Cri-Cr\u00ed<\/a><\/span><\/span> is Still Number 1\u201d; <em>Reforma<\/em>, October 15, 1994) \u2500inoffensive contents, as a general rule tend to be, not only those that sell the most, but also &#8220;longsellers&#8221;: those that remain on the market for a long time\u2500.<\/p>\n<p>a.2) People don&#8217;t like <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/madonna\">Madonna<\/a><\/span><\/span> anymore, and so her record company is in financial trouble (\u2018The Objectified Woman\u2019: Companies worried about over-the-top <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/madonna\">Madonna<\/a><\/span><\/span>&#8216;s declining popularity\u201d;<em> \u201cEl Heraldo de M\u00e9xico\u201d<\/em>, May 4, 1994) \u2500the enormous investments made to launch and then maintain her on the market, in fact, weren&#8217;t recovered by her patronizers; and while they lost fortunes, she kept on, changing investors\u2026\u2500.<\/p>\n<p>a.3) Gloria Trevi&#8217;s new calendar, sold only 10 % of the copies printed (\u201cCelebrities\u201d; \u201c<em>El Heraldo de M\u00e9xico\u201d<\/em>, January 21, 1995) \u2500and that was before the scandal broke about how she and her manager lured in young girls with promises to launch their singing careers, only to exploit them in extreme ways\u2500.<\/p>\n<p>a.4) In November of 1994, 39 % of the films people chose to watch on pay television, were Mexican \u2500most of them old, including the <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/cantinflas\">Cantinflas<\/a><\/span><\/span> series\u2500; that is: <em>not new films, and not \u201cadult\u201d films<\/em>\u2500 (\u201cCultural Consumption in Mexico City\u201d; \u201c<em>Reforma\u201d<\/em>, February 15, 1995). [for more up to date information, including Spain and the United States, see <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/revista\/el-misterio-del-espectador-perdido-tiene-poco-que-ver-con-la-revolucion-digital\">&#8220;El Misterio del espectador perdido&#8221;<\/a><\/span><\/span> (The Mystery of the Missing Spectators).<\/p>\n<p>Let&#8217;s look at an even more clear example: The third version of \u201c<span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/corazon-salvaje\">Coraz\u00f3n salvaje<\/a><\/span><\/span><em>\u201d <\/em><em>(Wild Heart)<\/em> \u2500the one starring <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/edith-gonzalez\">Edith Gonz\u00e1lez<\/a><\/span><\/span> and Eduardo Palomo, r.i.p.\u2500, captured the public&#8217;s attention during the first thirty episodes [<em>we aren&#8217;t referring to the strange hybrid version by the same name, but far less successful, aired in 2009-2010<\/em>]\u2500 .<\/p>\n<p>In spite of the diminishing quality of \u201c<em>Coraz\u00f3n salvaje&#8217;s\u201d <\/em><em>most successful version, a large part of the public watched it through to the end and continued to speak highly of it. <\/em> They managed this due to the evocative power of the first episodes, able to make viewers dream \u2500to draw\/take\/transport them in to the work&#8217;s fictional world; that is: using the ability to instill the viewers with hopeful anticipation. Its evocative power was easily measured: The day&#8217;s episode ended, and people remained seated in front of their televisions without turning them off \u2500as though waiting for the show to go on\u2500; after a few days, people still thought about the episode, and more importantly, they talked about it amongst themselves. This steadily increased the work&#8217;s audience (in spite of the absurd time slot), and reinforced its message, establishing a bond of loyalty between the creators and the receivers.<\/p>\n<p>For a work with morbid contents to achieve comparable impact, we would have to resort to extreme transgression, and we would have to do so in an extremely graphic, crude and detailed way. But just attempting it, would be enormously risky. For instance:<\/p>\n<p>b.1) It&#8217;s likely that people, feeling attacked, would reject the work without even giving it a chance \u2500How many people in our country watched \u201c<em>Natural Born Killers\u201d, <\/em><em>for example<\/em>\u2026? Or \u201c<em>El crimen del P.Amaro\u201d <\/em><em>(The Crime of Father Amaro)<\/em><em>\u2026<\/em>, to give a more recent example\u2026<em>? <\/em><em>In fact, to get \u201canybody\u201d in Mexico to go to see the latter, even just at one of the few theaters in the few cities where it found an audience, they had to show it, either to empty theaters for longer than was commercially viable, or<\/em><em> for free<\/em> at a few theaters (<em>The Bucareli Cinema<\/em> and <em>The Hollywood<\/em>, in the Federal District, for example).]<\/p>\n<p>b.2) The people who did \u201creceive\u201d the work, and experienced its tremendous impact, wouldn&#8217;t want to think about it later, nor would they be interested in any \u201cproducts\u201d related to it \u2500much less any other works by the same author\u2500, and<\/p>\n<p>b.3) they wouldn&#8217;t talk about it with others, unless it were in order to <em>recommend not <\/em><em>going to see it<\/em><em>.<\/em><\/p>\n<p>In business terms, these constitute three obvious disadvantages. And not only in a strictly business sense, since ultimately all creatives hope to communicate with their audiences: If they reject them, why go on writing?<\/p>\n<p>___<\/p>\n<p><em>Note added in 2012:<\/em><\/p>\n<p>Furthermore: For such a work, to attract the attention of the majority, it would have to resort to a number of \u201ccultural authorities\u201d \u2500to get everybody talking about it, as well as to a massive propaganda program \u2500almost staged\u2500 in all communications media. And even so, this would only work with a truly extraordinary text, due to its <em>intrinsically\/biologically unpleasant <\/em><em>nature.<\/em><\/p>\n<p>We have a recent example of this (2005-2012): The <em>Millenium<\/em> trilogy by Stieg Larsson, which \u2500as <span style=\"color: #000080;\"><span style=\"text-decoration: underline;\"><a href=\"http:\/\/www.mediosmejoresqueganenmas.org\/tag\/mario-vargas-llosa\">Mario Vargas Llosa<\/a><\/span><\/span><em> <\/em><em>stated<\/em>, in his review dated September 6, 2009, in \u201c<em>El Pa\u00eds\u201d\u2500<\/em> shows Sweden, and today&#8217;s world in general, \u201cas branches of hell, where judges prevaricate, psychiatrists torture, police and spies commit crimes, politicians lie, businessmen defraud, and both institutions and the establishment in general, appear to be trapped in a [tremendous and deep-rooted] pandemic of corruption\u201d, with no hope of finding any solutions or relief. And besides, it is <em>\u2500<\/em>as Vargas Llosa himself says<em>\u2500<\/em> <em>\u201ca novel <\/em><em>(that is)<\/em><em> [&#8230;] formally flawed,<\/em> [although] exceptional\u2026\u201d How can one not be surprised, then, that the author begins his review with the following extreme panegyric?: \u201cI read \u2018Millennium\u2019 with the feverish excitement and happiness with which I read Dumas and Dickens as a boy. Fantastic. <em>This trilogy secretly comforts us. [!!!]<\/em> Perhaps all is not lost [!!!] in this flawed world\u201d\u2026<\/p>\n<p>The fact that many people have read it proves that, not only does the general public have less and less faith in institutions \u2500as shown in the saga; but also that an extremely expensive, well designed propaganda campaign, still works \u2500although less and less so, and at increasing expense\u2500. But it works <em>while continuously eroding the credibility of the communications media, the \u201ccultural authorities\u201d, and the aggressive marketing strategies <\/em>required to promote &#8230;a work that is so <i>painful <\/i>to read. Using them to promote products of this kind, only gets in the way of the institutional and financial recovery of cultural industries, and the figures related to them.<\/p>\n<p>___<\/p>\n<p>Let&#8217;s compare today&#8217;s films with the \u201cracy\u201d ones the Torreon ranchers (Coahuila, Mexico) watched on Saturday nights \u2500at the Path\u00e8 cinema\u2500 back in 1934 (for 40 cents!). Those \u201cdaring\u201d \u201cpornographic\u201d films seem innocent to us today. Nevertheless, the ranchers&#8217; excitement was comparable to what we can observe today at adult movie theaters. Thus, the actress&#8217; bare ankles did not excite the men, but rather the transgression of socially accepted boundaries did. Therefore, in spite of the gradual liberalization of censorship in our country (in terms of language, sexual and violent contents, not agendas), the numbers of viewers at adult movie theaters have not increased very much (according to the employees); and many theaters have even closed down. In fact, and in contrast to what is commonly thought, pornographic film production companies, which do indeed crop up continuously all over the place, usually experience financial failure <em>at an even faster rate<\/em>&#8230;<\/p>\n<p>___<\/p>\n<p>This clearly indicates that:<\/p>\n<ul>\n<li>Firstly, morbidity draws attention, precisely because it exploits the forbidden (no prohibition, no attention&#8230;); and<\/li>\n<li>secondly, that <em>merely getting people&#8217;s attention is no guarantee of their enjoyment or the producers&#8217; financial success<\/em>.<\/li>\n<\/ul>\n<p>.<\/p>\n<p>But, why is this so?<\/p>\n<p>Every society, all human groups, establish a series of rules by which their members may coexist. The transgression of any of these limitations, immediately gets the attention of the other group members \u2500this is how it works as a \u201chook\u201d. Bearing in mind the sociological assumption that societies tend to self-regulate, the boomerang effect is easily explained, as well as proven. After just over ten years, Italy, a pioneer in exploiting morbidity in the \u201ccommercial arts\u201d (including advertising), was forced to reverse the tendency. Today [1995], the \u201ccleanest\u201d photo-novels\/photo-books I&#8217;ve ever seen, are published in Italy. And this happened for three reasons:<\/p>\n<p>c.1) because the publishers and production companies steadily lost their most capable employees, as each one&#8217;s personal limits were reached and then surpassed;<\/p>\n<p>c.2) because in the same way, they reached and then surpassed their large public&#8217;s limits, who ultimately stopped buying the products; and<\/p>\n<p>c.3) because morbidity desensitizes the public \u2500which is why, in fact, they had to commit increasingly salacious transgressions to continue to stir public interest\u2500<\/p>\n<p style=\"padding-left: 30px;\">(<em>cfr.<\/em> amongst many other sources, the following three articles\u2026<\/p>\n<p style=\"padding-left: 30px;\"><span style=\"text-decoration: underline;\">Regarding the impact on adults:<\/span><\/p>\n<p style=\"padding-left: 30px;\">\u00b0 Linz, D. G., Ed Donnerstein, and S. Penrod; \u201cEffects of long term exposure to violent and sexually degrading depictions of women\u201d; <em>Journal of Personality and Social Psychology<\/em>, 55 (5), pp. 758-768;<\/p>\n<p style=\"padding-left: 30px;\">\u00b0 Thomas <em>et al<\/em>; \u201cDesensitization to portrayals of real-life aggression as a function of exposure to television violence\u201d; <em>Journal of Personality and Social Psycology<\/em>, 35 (6), pp. 450-458;<\/p>\n<p style=\"padding-left: 30px;\"><span style=\"text-decoration: underline;\">and regarding the impact on children:<\/span><\/p>\n<p style=\"padding-left: 30px;\">\u00b0 Cline <em>et al<\/em>; \u201cDesensitization of children to television violence\u201d; <em>Journal of Personality and Social Psycology<\/em>, 27(3), pp. 360-365).<\/p>\n<p>___<\/p>\n<p>Morbid contents desensitize their receivers, since the more often transgressions are shown to us, the more \u201cnormal\u201d they appear to us \u2500the more they &#8230;cease to call our attention\u2500. That is: The \u201chook\u201d is no longer a \u201chook\u201d, <em>since it no longer piques people&#8217;s interest. <\/em><\/p>\n<p>In itself, even if morbidity didn&#8217;t present any other problems, this alone leaves it out of the running as a market tool: By forcing users to continuously broaden the limitations on acceptability, there is ultimately nothing left to show. When everything becomes acceptable, nothing is a transgression any longer; and the media therefore are left without these \u201chooks\u201d.<\/p>\n<p>___<\/p>\n<p>Regardless of all this, <em>morbidity is a lazy device used by poor writers, poor directors, poor actors \u2500poor creatives<\/em>. Let&#8217;s admit it: Using suspense and hopeful anticipation (especially this one), to trap people, is a challenge few creatives \u2500elite or popular\u2500 can rise to.<\/p>\n<p><em>And to trap people with humour \u2500with a healthy chuckle\u2500<\/em> [note added in 2012], <em>one has to <\/em>at least<em> be a genius!<\/em><\/p>\n<p>___<\/p>\n<p>.<\/p>\n<p style=\"text-align: right;\">Source of illustration: Bank of images DreamsTime.com<\/p>\n<p>\u00a0.<\/p>\n<p><strong>ARTICLE FIRST PUBLISHED\u2026<\/strong><\/p>\n<p>(SOURCE\u2019S BIBLIOGRAPHIC\/HEMEROGRAPHIC\/VIDEOGRAPHIC DATA):<\/p>\n<p>Blanca de Lizaur;\u00a0 &#8220;Alguna vez se han puesto a pensar&#8230;, \u00bfen qu\u00e9 consiste el morbo?&#8221; (\u201cHave you ever wondered\u2026, what &#8220;morbid&#8221; contents are (what does morbidity consist of)?\u201d), <em>Humanidades<\/em>-UNAM\u00a0(National Autonomous University of Mexico) # 101 [1995], pages 3 and 9.<\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 10); }P.western { font-family: \"Liberation Serif\",serif; font-size: 12pt; }P.cjk { font-family: \"DejaVu Sans\"; font-size: 12pt; }P.ctl { font-family: \"Lohit Hindi\"; font-size: 12pt; }A:link {  }\n--><\/style>\n<p><strong>Currently available&#8230;<\/strong> (current repository):\u00a0 http:\/\/www.bettermedia.org<\/p>\n<p>___<\/p>\n<p>This article was cited by:<\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; direction: ltr; color: rgb(0, 0, 10); }P.western { font-family: \"Liberation Serif\",serif; font-size: 12pt; }P.cjk { font-family: \"DejaVu Sans\"; font-size: 12pt; }P.ctl { font-family: \"Lohit Hindi\"; font-size: 12pt; }A:link {  }\n--><\/style>\n<p>M\u00aa Pilar Lema Quintana; \u201cEl morbo: \u00bfS\u00f3lo atracci\u00f3n malsana? An\u00e1lisis de su conceptualizaci\u00f3n en dos culturas\u201d (Morbidity: Only Unhealthy Interest? Analysis of its Conceptualization in two Cultures), in \u201c<em>Espejismo\u201d<\/em> (Mirage) (on-line magazine by students, graduates and professors at the Department of Spanish Language and Literature, in Pozna\u0144, Poland), in 2006: http:\/\/www.espejismo.republika.pl\/morbo2.html#_ftn1<\/p>","protected":false},"excerpt":{"rendered":"<p>An analysis of morbid content as a narrative device with a boomerang effect, since even when it generates an audience, it tends to kill the media source that resorted to using it (updated version).<\/p>\n","protected":false},"author":5,"featured_media":1955,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,692,16],"tags":[320,182,312,69,315,50,65,325,318,333,130,29,147,76,324,308,321,72,316,334,326,327,328,332,162,275,128,80,317,319,140,28,26,313,132,259,77,101,102,96,53,322,98,89,330,52,62,70,21,426,66,329,120,15,300,104,95,310,309,311,75,227,57,331,323,14,129,88,127,314,73,111],"class_list":["post-1460","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-utiles-para-creadores","category-utiles-para","category-revista","tag-24-horas-en-la-vida-de-jack-bauer","tag-abelardo-villegas","tag-agatha-christie","tag-agendas-politicas-economicas-e-ideologicas","tag-asterix","tag-autoregulacion-simbiotica-de-la-convivencia","tag-caida-de-ventas","tag-cantinflas","tag-chespirito","tag-cine-pathe-de-torreon","tag-como-salvar-a-los-medios","tag-consumo-de-medios","tag-consumo-sano-y-equilibrado-de-medios","tag-contenidos","tag-corazon-salvaje","tag-credibilidad","tag-cri-cri","tag-demanda-de-medios","tag-dilbert","tag-ed-donnerstein","tag-edith-gonzalez","tag-eduardo-palomo","tag-el-crimen-del-p-amaro","tag-el-pais","tag-epoca-dorada-del-cine-mexicano","tag-esquemas-y-formulas-narrativos","tag-anthropological-studies-on-art-fiction-and-media","tag-estudios-culturales","tag-gila","tag-hermanos-alvarez-quintero","tag-industria-musical","tag-influenciaefecto-de-los-medios","tag-interculturalidad","tag-john-g-cawelti","tag-libertad-de-expresion","tag-libertad-de-recepcion","tag-limites-del-contenido","tag-literatura-marginada","tag-literatura-popular","tag-los-medios-y-la-familia","tag-los-medios-y-la-literatura-popular","tag-madonna","tag-mala-situacion-financiera-de-los-medios","tag-manipulacion","tag-mario-vargas-llosa","tag-matrimonio-y-familia","tag-mayor-consumo-de-la-literatura-popular","tag-medios-de-comunicacion","tag-mercadeo","tag-millenium","tag-mala-situacion-financiera-de-los-medios-morbo","tag-natural-born-killers","tag-naturaleza-humana","tag-nuevos-medios","tag-obsceno","tag-oposicion-a-los-valores-ideas-y-creencias-mayoritarios","tag-oposicion-de-los-medios-a-los-valores-ideas-y-creencias-mayoritarios","tag-oxford-dictionary","tag-real-academia-espanola","tag-recursos-narrativos","tag-respuesta-del-publico-a-la-seleccion-sesgada-de-contenidos","tag-revaloracion-de-lo-popular","tag-revista-y-mercado-editorial","tag-stieg-larsson","tag-telenovelas-de-la-escritora-caridad-bravo-adams","tag-television","tag-teoria-literaria-de-las-obras-de-consumo-popular","tag-teoria-literaria-general","tag-human-universals","tag-university-of-chicago","tag-ventas-de-los-medios","tag-veracidad"],"_links":{"self":[{"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/posts\/1460","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/comments?post=1460"}],"version-history":[{"count":106,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/posts\/1460\/revisions"}],"predecessor-version":[{"id":3158,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/posts\/1460\/revisions\/3158"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/media\/1955"}],"wp:attachment":[{"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/media?parent=1460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/categories?post=1460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mediosmejoresqueganenmas.com\/en\/wp-json\/wp\/v2\/tags?post=1460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}