探索安达卢西亚环境中基于性别角色的首批电影手段之一的历史和社会意义

IF 1.7 Q2 SOCIOLOGY
Societies Pub Date : 2024-08-26 DOI:10.3390/soc14090159
Inmaculada Rodriguez-Cunill, María del Mar Martín-Leal, Juan José Domínguez-López
{"title":"探索安达卢西亚环境中基于性别角色的首批电影手段之一的历史和社会意义","authors":"Inmaculada Rodriguez-Cunill, María del Mar Martín-Leal, Juan José Domínguez-López","doi":"10.3390/soc14090159","DOIUrl":null,"url":null,"abstract":"In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women.","PeriodicalId":21795,"journal":{"name":"Societies","volume":null,"pages":null},"PeriodicalIF":1.7000,"publicationDate":"2024-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Exploration of the Historical and Social Significance of One of the First Cinematographic Devices Based on Gender Roles in the Andalusian Environment\",\"authors\":\"Inmaculada Rodriguez-Cunill, María del Mar Martín-Leal, Juan José Domínguez-López\",\"doi\":\"10.3390/soc14090159\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women.\",\"PeriodicalId\":21795,\"journal\":{\"name\":\"Societies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.7000,\"publicationDate\":\"2024-08-26\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Societies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3390/soc14090159\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"SOCIOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Societies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3390/soc14090159","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"SOCIOLOGY","Score":null,"Total":0}
引用次数: 0

摘要

1914 年,El Noticiero Sevillano 和其他西班牙报纸刊登了一篇关于 Cinémhymen 的文章,这是一种用于拍摄和销售未来妻子形象的电影设备。本文探讨了这则广告为何不被视为贬义词,并研究了在 "女权主义者 "一词已经出现在西班牙报刊上的时代,父权制的构建情况。在研究方法上,我们分析了以 "处女膜"(Hymen)一词为基础的设备名称和企业名称,对当年的西班牙女权主义进行了文献回顾,并对当时的电影技术进行了研究。曼萨诺的压迫金字塔为我们确立广告背后的控制运作提供了帮助。我们的研究揭示了《Cinémhymen》的父权原则,一旦女性符合预期角色,就会被污名化。在《Cinémhymen》中出现的物化凝视让我们了解到父权制在一个奴役女性的视觉世界中的发展。正如琼-里维埃尔(Joan Rivière)所解释的那样,摄影机可以看穿女性的伪装,探索其下的 "真实 "身体,即女性的核心(或被认为是女性的核心)。在某种程度上,《Cinémhymen》是当前网络色情作品中的征服行为的先驱,代表了适用于女性的 "全景镜 "原则的扭曲演变。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Exploration of the Historical and Social Significance of One of the First Cinematographic Devices Based on Gender Roles in the Andalusian Environment
In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Societies
Societies SOCIOLOGY-
CiteScore
3.10
自引率
9.50%
发文量
150
审稿时长
11 weeks
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信