Suitcase 78 player spotted! '78' is a retronym - prior to the introduction of the LP (33 1/3) and 45 formats, both in 1948, 78's were just 'records'. They stuck around through the mid-50's in the west, and somewhat longer elsewhere. Acoustic recording and playback was all there was until 1925; electrical recording took hold and quickly pushed out the older method, while acoustic playback stuck around somewhat longer due to the cost associated with the electric players (many of which included the recently developed technology of radio as an added option, at least in higher end models). Throughout, the discs were almost all made of shellac, which is good and hard, but also quite brittle - it's not difficult to break a 78 (I've done it myself once or twice), and also doesn't age well if you don't keep it dry and fairly cool. Also, they're very soluble in alcohol, so don't spill your highball on one.
The needle (and, in this case, needle is the correct term - it really is similar to a sewing needle in a lot of ways) would probably have been made of steel, though some types of cactus spikes or other materials were also used sometimes, and would have been intended as a one-use consumable under ideal circumstances. (Yes, you would have been expected to have a can of needles, and to replace them after each play. Makes listening a bit more of an investment!) Playback on an acoustic machine was through the resonator (the diaphragm the needle's connected to) through a throat that comprised the tonearm and then a horn; in the case of a portable machine like this, the horn was built as part of the case underneath the platter. The horns you see like the one Nipper the dog is looking at in the RCA/HMV/JVC logo were early; later machines tended to use a better design that was generally also folded into a cabinet and gave a much less 'honky' sound, due to their being as much as 8 feet long and exponentially expanded through their length, rather than linearly.
Curiously, there was never any strict formal agreement across manufacturers as to the actual speed - in the electrical era, most US discs would have run at 78.26 RPM, while the UK would have used 77.92, both due to how the synchronous motors in electrical players were set up. Older acoustic discs were all over the place, commonly as low as 60 RPM to as high as 90, and occasionally even higher. Most players had both a brake to stop the platter (which keeps you from having to wind quite as much) and a speed adjustment to get that roughly dialed in for the disc being played. There were also variations in whether the disc started on the outside or the inside, and in whether the sound was cut side-to-side or up-and-down in the groove, so playback could be a bit of a crapshoot with an unfamiliar label.
Thanks as always for the chapter - good choice to leave some of the Spanish, I think, as it lends some color to the dialog - and special appreciation for the enlightening translation and setting/background notes!