Los arquetipos de la mujer en los orígenes del cine y su relación intermediática con sus imágenes en las artes plásticas
In the beginnings of cinematography (1895-1920) first appears the model of domestic woman against the deviant women and among them the “fatal” woman. With the so-called second-wave feminism, the archetype of the suffragette, associated with the images of the dominant woman, hysterical or embittered....
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| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
2021
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| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=7970992 |
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| Sumario: | In the beginnings of cinematography (1895-1920) first appears the model of domestic woman against the deviant women and among them the “fatal” woman. With the so-called second-wave feminism, the archetype of the suffragette, associated with the images of the dominant woman, hysterical or embittered. All these types will be reflected simultaneously and with an intermediary relationship with plastic arts. Against this woman who demanded their liberation and independence, a response from the dominant ideology adapted to these disciplines would be quickly revealed, which will bring the feminine iconography of the so-called “natural” woman, a woman in which only her body is highlighted and represented This fiction will give way to an erotic cinema, related to the images of the indolent and dehumanized woman of the painting of Fauvism and Expressionism. |
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