来自好莱坞的魅力:Ecran杂志上的魅力和女性气质(智利1930-1931)

IF 0.3 0 PHILOSOPHY
Andrea Robles Parada
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引用次数: 0

摘要

这篇文章的目的是解释1930-1931年智利杂志《Ecran》对好莱坞明星的性别描述。在20世纪30年代,好莱坞的吸引力帮助巩固了智利的大众文化,普及了美国式的现代性。在此背景下,本文探讨了明星在屏幕上的形象如何作为一种性别表现,作为现代和优雅女性的参考。我们认为,该杂志刊登的明星代表了一种迷人的女性气质,具有重要的审美价值,与苗条和时尚等身体和外表参数相关。本文的目的是介绍1930-1931年智利《Ecran》杂志上女明星的性别表现。在20世纪30年代,好莱坞明星的魅力帮助巩固了智利的大众文化,推广了现代美国风格。在此背景下,研究了银幕上好莱坞明星的形象如何作为性别的代表,并作为现代优雅女性的基准。在这方面,我们认为在屏幕上做广告的好莱坞明星代表了一种迷人的女性气质,在身材和外表参数(如苗条和时尚)方面具有重要的审美价值。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Encanto desde Hollywood: glamour y feminidad en la revista Ecran (Chile 1930-1931)
espanolEl objetivo del articulo es dar cuenta de las representaciones de genero de las estrellas hollywoodense en la revista chilena Ecran en los anos 1930-1931. Durante toda la decada del treinta, el atractivo de Hollywood ayudo a consolidar una cultura de masas en Chile, popularizando una modernidad al estilo norteamericano. En este contexto, se indaga como la imagen de la estrella en Ecran opero a modo de una representacion de genero que se instalo como un referente de la mujer moderna y elegante. Planteamos que las estrellas publicitadas por la revista representaron una feminidad glamorosa con un importante valor estetico asociado a parametros corporales y de apariencia como la delgadez y la moda. EnglishThe objective of this article is to account for gender representations about the female stars in the Chilean magazine Ecran, during the years 1930-1931. During the 30s, the lure of Hollywood stars helped to consolidate a mass culture in Chile, popularizing a modern American style. In this context, it is investigated how the image of the Hollywood star in Ecran operated as a gender representation and was installed as a benchmark for modern and elegant woman. In this regard, we propose that the Hollywood stars publicized in Ecran represented a glamorous femininity with an important aesthetic value concerning body and appearance parameters as thinness and fashion.
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
31
审稿时长
40 weeks
期刊介绍: The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.
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