Back CINEMA presents, in TNR, researches about the gesture of actresses during fascist regimes

CINEMA presents, in TNR, researches about the gesture of actresses during fascist regimes

The CINEMA group closed the 2018 cycle of Taula de Nova Recerca with presentations of its two latest projects.
02.01.2019

 

In the framework of the UPF Taula de Nova Recerca (TNR) cycle, oriented towards the exchange, the debate and the promotion of the researches developed within the university, the CINEMA research group presented two of its latest projects, focused on the gesture and the corporality of actresses during fascist regimes and censorship regulations.

The conference, celebrated on December 20th, 2018, gathered two of the group’s R+D projects, financed by the Ministry of Economy, Industry and Competitiveness, centering, first, on the already concluded “El cuerpo erótico de la actriz bajo los fascismos (España, Italia, Alemania, 1939-1945)” exhibited by doctor Núria Bou, member of the group, one of the main researchers of the Project and coordinator of the Master in Film Studies and Contemporary Audiovisual.

During the encounter, Bou gave the auditory a tour of the project’s website, www.eroscensura.com, which helped her illustrate the key points of the research, dedicated to the remnants of transgression that the actresses of the time found and developed to overcome the limitations of the censorial ideologies. Furthermore, the doctor presented the different publications that articulated the project: the book El cuerpo erótico de la actriz bajo los fascismos. España, Italia, Alemania (1939-1945), and the volumes Deseo y erotismo en tiempos dictatoriales and El Star System desde Europa: actualidad de los Star Studies, of the journals L'Atalante and Comparative Cinema, respectively.

In the second part of the conference, doctor Xavier Pérez, main researcher and coordinator of the research group, addressed the continuation of said project, “El deseo femenino en el cine español durante el Franquismo: evolución gestual de la actriz bajo la coacción censora”, focalized in an analytic interest that was first discerned during the past research: which were the motors that mobilized the gesture of the actresses and the expression of feminine desire in the narrative level.

This second project, recently commenced, will start from the hypothesis of the existence of female archetypes that were born and developed during the decades, which will allow for a diachronic radiography of female desires. During his intervention, Pérez also announced an international congress on this theme for 2020.

Finally, the closing of the conference was undertaken by the post-doctoral researcher Irene Cambra, of the Faculty of Psychology of the Universidad de Buenos Aires (UBA), who presented “La mujer invisibilizada en el cine: un análisis desde la bioética”. From the notion that cinema can offer a different way to think about bioethical concerns, Cambra’s project takes audio-visuals as a methodological framework for the study of the representation of surrogate pregnancy, centering herself on the film Melody (Bernard Bellefroid, 2014).

 

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