Navegando por Assunto "Identidade de gênero no cinema"

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Um olhar sobre o feminino nas artes visuais contemporâneas
(2019-07-06) Brito, Ana Nery Francelino de; Ianino, Adriana Martins; http://lattes.cnpq.br/3851462283169428; http://lattes.cnpq.br/3286893681257974
The universe of communication has undergone radical changes since the invention of photography, and new media. The Instagram has been pushing new forms of photography, and it enables us to a new imaginative conversation and new senses. The purpose of this research was to analyze the changes in the female body narrative in the visual arts throughout history and how our body can be used as an artistic expression. On this study, we compared the nuances about the changes of the visual narrative in the use of the female body as a subject in the art of the twentieth century, performing a cut in digital form, painting and photography. In addition, we explore the use of the new media to express and produce images, such as using the Instagram application. Thus, two images that express the female body were analyzed; the first one was of the Mexican artist Frida Khalo, her self-portrait with short hair, produced in the year 1940. The second image is a self-portrait of the American artist Cindy Sherman, titled Untitled Film Still # 6; work of the year of 1977. Data analysis showed that the new media, such as Instagram, can be used as a trigger for the construction of meaning in the production of images of the contemporary woman, dispensing with the use of words to share these ephemeral records through the use of the application on the internet.
Representações cinematográficas: gênero em cena no ciclo do Recife (1923-1931)
(2019-07-10) Spíndola, Nataly Cristine Castro; Nascimento, Alcileide Cabral do; http://lattes.cnpq.br/0117492153657559; http://lattes.cnpq.br/7237835947715745
The present study aims to understand the gender relations and the representation of women in the cinematography productions of Cycle of Recife during the first years of 1920’s. As a source of research and analysis, we have the movies Retribuição (1925) and Aitaré da Praia (1925), and the Diário de Pernambuco and Cinearte, when investigating how the woman was recognized by society in this period and understand how the female was represented during the cycle of silent cinema. Realizing the productions display ways and periodicals used, we notice how these vehicles disseminate conservative aspects of gender relations when displaying to institutions applicants such as marriage and guardianship male although it was considered a period of change.