Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The landscape represented during various stages during the production of the Salasaca tapestry is a sample of the processes of aesthetic transculturation that took place within the mentioned town from the 1960s. Through several field visits, it was possible to analyze the life stories of the weavers and artisans of this indigenous group. Based on this information collected, in a process of participant observation, it was possible to create a photographic archive, which articulated with the theoretical revision, gave way to the construction of the plot on which the analysis is based. Salasaca iconography is the link between the material's culture and intangible culture of this town, in which the influence of the plastic arts and design t

The article aims to study the relationship between music and the figures of women represented in the film Sapho, a passion story directed by Carlos Hugo Christensen. The director inaugurated a change in the cinematography of that time by introducing at the beginning of the 40s audacious subjects such as eroticism, turbulent passions, suicide, betrayals or divorce. The music was commanded to George Andreani, a composer born in Warsaw in 1901 who is formed musically in Berlin, Vienna, and Prague, and who before arriving in Argentina fleeing from Nazism, had already composed numerous soundtracks, and received awards in Czechoslovakia and France. From the film El inglés de los güesos (1940), Christensen and Andreani formed a close tandem between director and composer, as evidenced by the more than twenty titles in which they worked together. The compositional cohesion of the music is based fundamentally on the use of the leitmotif of a Wagnerian imprint that is associated with the characters of Selva, the femme fatal, Irene the naive adolescent and Teresa, the puritanical aunt. Parallel to the musical construction of the characters, the musical soundtrack adheres to the dramatic arc underlining the moods and emotions. Andreani handles orchestration with expertise through a rich and contrasting use of the timbral palette, exploiting the resources of Romantic and Post-romantic languages. The character of Selva (the femme fatal) played by Mecha Ortiz is leitmotivistically associated with a slow and pasty waltz, worked with dotted rhythms and with the tune played by the strings, with portamentos connoting the sensuality and density of this experienced woman. It is the most developed musical motif throughout the film and the one that suffers the greatest transformations. Its progressive rupture and fragmentation built by contrasts of register, orchestration, and rhythms generate the variety of moods as the plot is stressed. As a contrast, the musical motif of Irene (the naive) played by Mirtha Legrand is elegant and brilliant, associated with the musical topic of the minuet. The soundtrack presents a third motif, associated with Teresa (the protagonist's aunt) built on the topic of "the morning”, a pastoral and bucolic style that not only represents the character but also the idyllic and Catholic rural space. One of the findings of the work is the relationship between the stereotypes of women that appear in the films and their transcendence beyond the screen in the lives of the actresses. This issue is verified in the representation of movie stars in the magazines of the time analogously to the figures they represent in the films, both in the photographs as well as in the texts and interviews. The article takes as a theoretical approach to gender theory, in particular, to the applications of this perspective to study film and music, such as the pioneering work of Laura Mulvey for classical cinema (Mulvey, 2001), the germinal book of Susan McClary, who approaches music from a feminist musicology (McClary, 2002) and the most recent approaches by Pilar Ramos López (Ramos López, 2003) and Laura Viñuela (Viñuela Suárez, 2003). For the approach of musical analysis, we consider the Topical Theory, (Ratner, 1980) that allows unraveling the construction of the musical sense through the topics as discursive units that make sense in a sociocultural context. Methodologically, we made a cross between the tools of musical analysis with film analysis crossed with the proposed theoretical framework and supplemented with documentary sources such as interviews and press articles of the time.

The canonical records have made the work of the women of the seventh art invisible, eclipsing them with masculine figures. However, the revisiting the films has made them into part of history and film theory. We shall escape the established notion of man directed films, focusing on how the genre and “the thing of women” were established by the Soviet, German and French films, and its difference with the classic Hollywood model and its representations of princesses in need of being rescued or unchained by unconsented kisses. We believe that feminine influence, powerful, vibrating, creative -sometimes controversial-, is not a recent phenomenon. We intend to bring to this paper the contribution to the film genre by Elizaveta Svilova editor and creator of the kino-eye; the figure of Leni Riefenstahl, even though her association with German expressionism does not seem completely direct, it originates in the same context; and the works of Agnès Varda, the lady of the Nouvelle Vague. Three indispensable women who have left their mark and made the world know that the women can see, tell, experiment, and are able to create works of art and monsters. The choise of these three women is not trivial. Elizaveta Svilova is probably the best known editor to have worked in the USSR, even though her name is barely mentioned in most of the usual sources on Soviet film history. As editor of “The man with a movie camera” (1929), she is responsible for the technique and poetry of the film. It is through her that we access the raw material and the possibilities of manipulation, where filmed shoots are assembled and “organized”, the special and visual effects, fades, overlaid and frozen images, fast forward, split screens, several rhythms and inserts; with effects which are not random, for they are weighted with meaning and they are, ultimately, the method of the film. External to the German expressionism movement, yet equally necessary of being referred to for its temporal proximity, there is the controversial Leni Riefenstahl. Before being director, she starred in several “mountain” films, almost a subgenre of German film in the 20’s. Gubern describes these films as “a promethean emblem of the heroes that dared to conquer he summit, with resonance between pagan and fascist” (Gubern, 1973 quoted by Kairuz, 2009). “Triumph of the will” (1935) directed by Riefenstahl, is an outstanding piece of epic proportions (“wagnerian”). Current studies developed in France about the films by Agnès Varda make no emphasis in matters of genre, “the author is studied as a cinéaste instead of a feminist director” (Lee, 2008 quoted by Vallejo, 2010). Her vanguard language and aesthetic experimentation offer a different way to see and represent women.

From 1963 to present day, Hayao Miyazaki has recounted the Heroine’s Journey of strong girls and young women through his animated films, television series and manga. Theatrically released in 2001 his hand drawn masterpiece Sen to Chihiro no Kamikakushi (Sen and Chihiro’s Spiriting Away) became the highest grossing film in Japanese history. It was dubbed into English and released by Disney in 2002, and went on to win the Academy Award for what is still the only foreign film to have ever won the Best Animated Feature category. Many critics have ranked it as the best animated film ever made. It’s a coming of age fantasy written and directed by Miyazaki and animated by his Studio Ghibli. It’s the Heroine’s Journey of 10-year-old Chihiro Ogina who is on her way to moving to a new home when she’s sidetracked into the Shinto spirit world of folklore. Her parents are transformed into pigs by the witch Yubaba, and Chihiro must find a way, as she works in Yubaba’s bathhouse to free her parents and escape back to the human world. This essay examines and analyzes how Spirited Away follows the 10-stage model that Maureen Murdock describes in her book Heroine’s Journey: Woman’s Quest for Wholeness. Murdock was a student of Campbell’s and came to believe through her work with women in therapy that his model of the Hero’s Journey didn’t acknowledge the psychological-spiritual aspects of a women’s journey. It argues that Miyazaki and his male dominated studio didn’t follow the Joseph Campbell model of The Hero’s Journey by simply telling a Shero’s journey or one that replaces the male protagonist with a female one, but that he celebrates the psycho-spiritual journey of Chihiro that Murdock outlines.

This article aims to make an approach to textiles: its design and interpretation, through the sculpture San Lucas Arcángel, restored in the workshop of Bernardo de Legarda, made in Quito in the second half of the eighteenth century, which express the handicraft process and incorporation of local elements in the textile design through it clothing. The study highlights the materialization of cultural miscegenation, the result of the diverse handicraft techniques and the relationships between the social strata of Quito society in the colonial period. The design textile of this work demonstrates the process of miscegenation that transcends the ethnic and social boundaries of the eighteenth century. The contribution of this research is intended to contribute to historical memory of textiles and clothing, which are part of the cultural heritage, and have not been preserved or protected by the policies and rescue management of heritage assets by the local government. The declaration of Quito, as a Cultural Heritage of Humanity, by UNESCO, has allowed to safeguard cultural assets, however, neither clothing nor textiles have not been considered in this process.

Because society is shaped through the stories we tell, women’s testimonies are of foundational relevance when we reflect on social change, since their stories reinvent not only individual but also collective identity. As an examination from a life narrative perspective on how women view, enact, and reformulate their role in society, this paper centers on the testimony of Dr. Diana Maffía, whom –among other noteworthy womenwas instrumental in solidifying the work on gender and feminist perspective in Argentina since the early 1980s. This paper is an approach to Maffía’s story, about her growing up during military dictatorship, her early years as a philosophy student at the University of Buenos Aires, her embrace of feminism, and the weaving of her two passions that resulted in the establishment of a permanent presence of the concept of gender within the very structure of Argentinean society. Maffía’s narrative brings to light the work that unsung heroines do throughout their lives, evidencing that women have always been at the forefront of generating and sustaining change.

The transformation of the relationship between crafts and design has generated forms of participation among professionals and artisans as diverse as the instances that promote them. The emergence of a specific field called ethnic design is an example, whose objective is to link and revalue the artisanal development of native groups through language of strategy, technology and innovation that design manages. In Chihuahua, a northern state of Mexico, studies on crafts and design are mainly of the Rarámuri culture (Tarahumara), that has a predominant presence in the region. This text presents projects of students and researchers from the Universidad Autónoma de Ciudad Juárez, which propose intersections between crafts and design related to this ethnic group. They describe the way in which a phenomenon such as craftsmanship materializes in very diverse products, the ideology and way of life of the indigenous peoples; delves into industrial and graphic design as strategic activities and reading models that support, resume and disseminate different forms of creation and craft production.

The following article presents an extract of the research carried out to qualify for the degree of Doctor of Design at the University of Palermo, in Buenos Aires. Argentina. Referred to the development of Mapuche entrepreneurs craftsmanship in La Araucanía region, Chile. This article studies the relationship between designs with graphic motives in the elaboration of handmade products. Materials such as leather, silver, wool, ceramic clay and wood are some of the study´s objects that are presented in proposals of entrepreneurs who design graphic motifs.

The landscape represented during various stages during the production of the Salasaca tapestry is a sample of the processes of aesthetic transculturation that took place within the mentioned town from the 1960s. Through several field visits, it was possible to analyze the life stories of the weavers and artisans of this indigenous group. Based on this information collected, in a process of participant observation, it was possible to create a photographic archive, which articulated with the theoretical revision, gave way to the construction of the plot on which the analysis is based. Salasaca iconography is the link between the material's culture and intangible culture of this town, in which the influence of the plastic arts and design transformed the graphic representation schemes that previously hosted cultural signifiers.

From the perspective of ethnohistory, it is adrressed the theoretical reflections about the historical and cultural reality in the textile handicraft production of the parish of Cacha. It is historically linked to the traditional production of textiles, highlighted by the technique used for its production, which has remained relatively constant despite being crossed by discontinuities, that have sometimes tried to make compatible or hybridize them, considering the use of traditional clothing as expression of identity and distinctive element.