<?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>2184-0458</journal-id>
<journal-title><![CDATA[Revista Lusófona de Estudos Culturais (RLEC)/Lusophone Journal of Cultural Studies (LJCS)]]></journal-title>
<abbrev-journal-title><![CDATA[RLEC/LJCS]]></abbrev-journal-title>
<issn>2184-0458</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade (CECS)]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-04582024000202002</article-id>
<article-id pub-id-type="doi">10.21814/rlec.5709</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[The Role of Film Festivals in Promoting Social Justice: Authorship, Disruption, and Innovation at the CineMigrante Film Festival (Buenos Aires, Argentina)]]></article-title>
<article-title xml:lang="pt"><![CDATA[O Papel dos Festivais de Cinema na Promoção da Justiça Social: Autoria, Disrupção e Inovação no Festival de Cinema CineMigrante (Buenos Aires, Argentina)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[García]]></surname>
<given-names><![CDATA[Lidia Peralta]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Simour]]></surname>
<given-names><![CDATA[Lhoussain]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Granada Facultad de Comunicación y Documentación Departamento de Información y Comunicación]]></institution>
<addr-line><![CDATA[Granada ]]></addr-line>
<country>Spain</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Université Hassan II de Casablanca Ecole Supérieure de Technologie Innovation and Digital Entrepreneurship Department]]></institution>
<addr-line><![CDATA[Casablanca ]]></addr-line>
<country>Morocco</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2024</year>
</pub-date>
<volume>11</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-04582024000202002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-04582024000202002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-04582024000202002&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This paper revolves around Migration Film Festivals as a rich and interdisciplinary fertile subject of inquiry and analysis at an international scale. Its primary aim is to conduct an in-depth analysis of CineMigrante, Festival de Cine y Formación en Derechos Humanos (CineMigrante, Film Festival and Training in Human Rights), held in Buenos Aires (Argentina) since 2010. It serves as an invaluable case study for the understanding of the significance of film festivals in advancing social justice, cultivating community involvement, and championing migrant rights. Its pioneering methods and influence render it a crucial blueprint for analogous endeavors globally. The theoretical framework focuses on the concept of authorship to highlight how social innovation has a lot to do with the creativity and disruptive capacity of a film festival. A comprehensive mix of quantitative and qualitative methodologies is employed, encompassing formal content analysis of the festival catalog and detailed examination of the structural, visual, and para-visual elements present on the festival's website, media platforms, and textual materials. The study variables under consideration include curation criteria, programming activities, interactions with the media and local community organizations, corporate image, and communication strategies. Results show that CineMigrante's social success is based on its disruptive and innovative dynamics to reach audiences, challenge narratives, and act as a catalyst for social transformation.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo explora os festivais de cinema dedicados à migração como um tema interdisciplinar fértil para investigação e análise a uma escala internacional. O principal objetivo é realizar uma análise aprofundada do CineMigrante, Festival de Cine y Formación en Derechos Humanos (CineMigrante, Festival de Cinema e Formação em Direitos Humanos), que se realiza em Buenos Aires, Argentina, desde 2010. É um estudo de caso valioso para compreender a importância dos festivais de cinema na promoção da justiça social, no incentivo ao envolvimento comunitário e na defesa dos direitos dos migrantes. Os seus métodos pioneiros e a sua influência fazem dele um modelo fundamental para iniciativas semelhantes em todo o mundo. O enquadramento teórico foca no conceito de autoria para destacar como a inovação social está intimamente relacionada com a criatividade e a capacidade disruptiva de um festival de cinema. Foi adotada uma combinação abrangente de metodologias quantitativas e qualitativas, incluindo uma análise formal do conteúdo do catálogo do festival e um estudo detalhado dos elementos estruturais, visuais e elementos visuais auxiliares presentes no site do festival, nas plataformas dos média sociais e nos conteúdos escritos. As variáveis estudadas incluem critérios de curadoria, atividades de programação, interações com os média e organizações da comunidade local, imagem corporativa e estratégias de comunicação. Os resultados indicam que o sucesso social do CineMigrante assenta na sua abordagem disruptiva e inovadora para conquistar audiências, desafiar narrativas e atuar como catalisador de transformação social.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[migration film festivals]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[migrations]]></kwd>
<kwd lng="en"><![CDATA[social justice]]></kwd>
<kwd lng="en"><![CDATA[disruption]]></kwd>
<kwd lng="pt"><![CDATA[festivais de cinema sobre migração]]></kwd>
<kwd lng="pt"><![CDATA[cinema]]></kwd>
<kwd lng="pt"><![CDATA[migrações]]></kwd>
<kwd lng="pt"><![CDATA[justiça social]]></kwd>
<kwd lng="pt"><![CDATA[disrupção]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Berry]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Robinsons]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Chinese film festivals: Sites of translation]]></source>
<year>2017</year>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<source><![CDATA[Con la mirada sobre los desplazados]]></source>
<year>2010</year>
<publisher-name><![CDATA[El Argentino]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festivals: From European geopolitics to global cinephilia]]></source>
<year>2007</year>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film festivals and migration]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D]]></given-names>
</name>
</person-group>
<source><![CDATA[The encyclopedia of global human migration]]></source>
<year>2013</year>
<publisher-name><![CDATA[John Wiley &amp; Sons]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[What is a film festival? How to study festivals and why you should]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M]]></given-names>
</name>
<name>
<surname><![CDATA[Kredell]]></surname>
<given-names><![CDATA[B]]></given-names>
</name>
<name>
<surname><![CDATA[Loist]]></surname>
<given-names><![CDATA[S]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festivals: history, theory, method, praxis]]></source>
<year>2016</year>
<page-range>1-11</page-range><publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festivals: History, theory, method, practice]]></source>
<year>2021</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[de Valck]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Damiens]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rethinking film festivals in the pandemic era and after]]></source>
<year>2023</year>
<publisher-name><![CDATA[Palgrave McMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dickson]]></surname>
<given-names><![CDATA[L.-A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival and cinema audiences: A study of exhibition practice and audience reception at Glasgow Film Festival]]></source>
<year>2014</year>
<publisher-name><![CDATA[University of Glasgow]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dovey]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Curating Africa in the age of film festivals]]></source>
<year>2015</year>
<publisher-name><![CDATA[Palgrave MacMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dovey]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Decolonized film festival worlds]]></source>
<year>2023</year>
<publisher-name><![CDATA[Palgrave McMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Harbord]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film cultures]]></source>
<year>2002</year>
<publisher-name><![CDATA[Sage]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Rhyne]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 1: The festival circuit]]></source>
<year>2009</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Cheung]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 2: Film festivals and imagined communities]]></source>
<year>2010</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Cheung]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 3: Film festival and East Asia]]></source>
<year>2011</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Torchin]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 4: Film festivals and activism]]></source>
<year>2012</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Marlow-Mann]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 5: Archival film festivals]]></source>
<year>2013</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Iordanova]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Van de Peer]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film festival yearbook 6: Film festivals and the Middle East]]></source>
<year>2014</year>
<publisher-name><![CDATA[St. Andrews Film Studies]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Johnson]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A brutal humanism for the new millennium? The legacy of neorealism in contemporary cinema of migration]]></article-title>
<source><![CDATA[Journal of Italian Cinema &amp; Media Studies]]></source>
<year>2020</year>
<volume>8</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>61-77</page-range></nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Johnson]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film festivals and ideology critique: A method]]></article-title>
<source><![CDATA[Cinergie: Il cinema e le Altre Arti]]></source>
<year>2022</year>
<volume>11</volume>
<numero>22</numero>
<issue>22</issue>
<page-range>1-24</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<source><![CDATA[Liliana Mazure presentó el Anuario de Cine 2010]]></source>
<year>2011</year>
<publisher-name><![CDATA[El Cronista]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Loist]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Stopping the flow: Film circulation in the festival ecosystem at a moment of disruption]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Valck]]></surname>
<given-names><![CDATA[M. de]]></given-names>
</name>
<name>
<surname><![CDATA[Damiens]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rethinking film festivals in the pandemic era and after]]></source>
<year>2023</year>
<publisher-name><![CDATA[Palgrave Macmillan Cham]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Morgan]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Castle]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Arts-research collaboration: Reflections on collaboration as creative method]]></article-title>
<source><![CDATA[Qualitative Inquiry]]></source>
<year>2024</year>
<volume>30</volume>
<numero>3-4</numero>
<issue>3-4</issue>
<page-range>291-300</page-range></nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ozduzen]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8216;Cinema as a common activity&#8217;: Film audiences, social inclusion, and heterogeneity in Istanbul during the Occupy Gezi]]></article-title>
<source><![CDATA[Journal of Language &amp; Politics]]></source>
<year>2020</year>
<volume>19</volume>
<numero>5</numero>
<issue>5</issue>
<page-range>1-21</page-range></nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Peralta Garcia]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Simour]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Migration film festivals: Social functions, expectations and challenges]]></source>
<year>0000</year>
<publisher-name><![CDATA[Palgrave Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Richards]]></surname>
<given-names><![CDATA[S. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Queer Film Festival: Popcorn and politics]]></source>
<year>2016</year>
<publisher-name><![CDATA[Palgrave McMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rüling]]></surname>
<given-names><![CDATA[C.-C.]]></given-names>
</name>
<name>
<surname><![CDATA[Pedersen]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Film festival research from an organizational studies perspective]]></article-title>
<source><![CDATA[Scandinavian Journal of Management]]></source>
<year>2010</year>
<volume>26</volume>
<page-range>318-23</page-range></nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Simmonds]]></surname>
<given-names><![CDATA[H. A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Curating the cinematic muse: The role of programming in the film festival experience: The 40th Toronto International Film Festival]]></source>
<year>2018</year>
<publisher-name><![CDATA[University of Waterloo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tascon]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Human Rights Film Festivals: Activism in context]]></source>
<year>2015</year>
<publisher-name><![CDATA[Palgrave MacMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Trencsényi]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Naumescu]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Migrant Cine-Eye: Storytelling in documentary and participatory filmmaking]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Nikielska-Sekula]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Desille]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Visual methodology in migration studies]]></source>
<year>2021</year>
<publisher-name><![CDATA[Springer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vallejo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Rethinking the canon: The role of film festivals in shaping film history]]></article-title>
<source><![CDATA[Studies in European Cinema]]></source>
<year>2020</year>
<volume>17</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>155-69</page-range></nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vallejo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Winton]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Documentary film festivals vol. 1: Methods, history, politics]]></source>
<year>2020</year>
<publisher-name><![CDATA[Palgrave McMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vallejo]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Winton]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Documentary film festivals vol. 2: Changes, challenges, professional perspectives]]></source>
<year>2020</year>
<publisher-name><![CDATA[Palgrave McMillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yanil]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[CineMigrante, un festival que abraza la diversidad y crea un puente multicultural]]></source>
<year>2023</year>
<publisher-name><![CDATA[Nota al Pie]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
