Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações. / Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações. / Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

Cette thèse se propose de confronter un objet singulier, les pin-up, à un espace-temps tout aussi particulier : la période dite du pré-Code hollywoodien. Il s’agit tout d’abord de définir la pin-up comme figure féminine et cinématographique, et de proposer d’aller au-delà de la femme-objet qu’elle est censée incarner. L’étude attentive (par le biais notamment d’analyses de séquences) d’archétypes de pin-up produits entre 1930 et 1934 dans une perspective culturaliste influencée par les études de genre, permet, d’une part de déconstruire l’idée d’un pré-Code synonyme de liberté cinématographique. D’autre part, un retour sur l’histoire des pin-up et leur usage féministe potentiel, autorise cette figure féminine hyper-sexualisée à devenir un outil d’analyse des relations de genre, apte à révéler les mécanismes, parfois subtilement dissimulés, de la domination masculine. Les stratégies opposées par les personnages de pin-up au cadre patriarcal, sont à cet égard révélatrices. Les carrières cinématographiques de Betty Boop, de Jean Harlow, et de Mae West, étudiées sous cette lumière, indiquent quelles formes ces stratégies peuvent prendre. Les pin-up évoluant dans le genre de l’horreur et le personnage de Jane Parker incarné par Maureen 0’Sullivan durant les six premiers Tarzan de la MGM complètent ce passage en revue. La diversité des archétypes choisis fait in fine apparaître une difficulté commune aux pin-up cinématographiques, quel que soit leur statut ontologique : celle d’exister. / The goal of the present dissertation is to confront a specific object, the “pin-up”, to aspecific time and location: the so called « Pre code » Hollywood era. First of all, we wish todefine the pin-up as both a feminine and cinematographic figure, and to go beyond themere “woman as object “ that she is frequently reduced to. A careful study (relying, amongother, on sequence analysis) of pin-up archetypes created between 1930 and 1934 in acultural perspective, influenced by gender studies, makes it possible, first, to deconstructthe notion that Pre-code era has been a period of cinematographic freedom. Moreover,looking back at the history and evolution of the pin-up, and understanding how they can beused in a feminist agenda, helps turning this hypersexualised feminine figure into a deviceto analyze gender relationships, able to reveal the mechanisms, sometimes cleverlyconcealed, of masculine domination. In this respect, the strategies that pin-up charactersresort to in order to fight patriarchal order are revealing. Pin-up evolving in the horrorgenre, or the character of Jane Parker impersonated by Maureen O’Sullivan in MGM’s sixfirst Tarzan should complete this survey. The variety of archetypes that have been selectedhere seem, eventually, to lay bare a common difficulty, shared by all cinematographic pinup,regardless of their ontological status - their mere existence.

La recherche de cette thèse s’articule autour de mon travail plastique de la série « Raw Meat » où je me sers exclusivement de l’image publicitaire de viande crue que je détourne pour construire des corps féminins. Elle répond à la question suivante : Pourquoi sommes-nous affectés par la vue, par l’aspect de la matière de la viande crue ; et pourquoi sommes-nous davantage affectés lorsque la viande crue forme – ou fusionne avec – le corps de la femme ? L’origine de la force de cette image est ciblée comme issue de notre passé primitif ; la recherche soulève nos liens les plus profonds avec la chair animale et ses pratiques liées aux sociétés primitives, et démontre comment les mythes, les rites, et les interdits autour du corps animal/humain sont toujours à l’œuvre. Nous soutenons les hypothèses d’une image comestible, de l’œil cannibale, de la pulsion scopique au sein d’une œuvre, du regard pulsionnel, voire criminel de l’artiste, de la cruauté de l’être, du dévoilement, de l’image violente (de la femme) et de sa sublimation. Nous regardons comment les différents mécanismes à l’œuvre dans l’image de la femme, à l’instar de la série « Raw Meat », permettent une multitude d’interprétations de la chair, dont les sens vont de notre passé primitif à notre contemporanéité. Notre plaidoyer pour cette polysémie est celle de la nécessité de cette image « vraie » de femme, à l’image de son émancipation. / The research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-08T11:53:57Z No. of bitstreams: 1 jovianafernandesmarques.pdf: 23501506 bytes, checksum: f13147f1997cc6dfee331cfe55423786 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T13:26:14Z (GMT) No. of bitstreams: 1 jovianafernandesmarques.pdf: 23501506 bytes, checksum: f13147f1997cc6dfee331cfe55423786 (MD5) / Made available in DSpace on 2016-07-13T13:26:14Z (GMT). No. of bitstreams: 1 jovianafernandesmarques.pdf: 23501506 bytes, checksum: f13147f1997cc6dfee331cfe55423786 (MD5) Previous issue date: 2016-04-05 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa busca traçar um panorama sucinto das transformações observadas na ilustração americana, tendo por base um recorte temporal definido que abrange as décadas de 1890 a 1945. Para tanto, selecionamos um número limitado de artistas que tornam seus trabalhos símbolos de tais representações, analisando-os e comparando-os afim de nos aproximarmos de seu papel social, político e cultural, visando compreender as mutações sofridas em modelos ilustrados ao longo do anos. Assim procedemos também no capítulo último, ao elegermos para análise o ilustrador brasileiro Alceu Penna, no intuito de traçar os diálogos da ilustração americana com a ilustração nacional. Palco de grande produtividade gráfica, o recorte temporal proposto se inicia no fim da década de 1890 nos Estados Unidos, período que viu o nascimento do modelo da new woman personificado nos traços das famosas Gibson Girls. Percorremos a década de 1920, onde a euforia dos “anos loucos” deu a luz à mulheres de tornozelos a mostra e madeixas curtíssimas: a Era flapper. Com a Grande Depressão de 1929 bem como a Segunda Guerra Mundial, outro modelo emerge, as pin ups, transformando a euforia anterior em uma atmosfera regada ao patriotismo e sensualidade. Sua influência chega até o território nacional, influenciando a produção de ilustradores diversos, como o mineiro Alceu Penna. Para construir e compreender as transformações sofridas e suas influências, nos valemos de fontes primárias, como as ilustrações encontradas em acervos digitais e pessoais de colaboradores, e secundárias, como livros diversos, artigos e ensaios. Buscamos traçar diálogos que enriqueçam o debate em torno das representações ilustrativas de ambos países, esperando expandir os olhares a respeito dos caminhos que a ilustração é capaz de revelar. Ao analisarmos representações do feminino em Alceu Penna por paralelos e conversas com modelos norte-americanos, esperamos auxiliar nas visualizações de similaridades e diferenças entre as duas produções, contribuindo com novos pensamentos sobre o material gráfico de tais culturas, suas potencialidades e aproximações. / This research seeks to draw a brief overview of the changes observed in american illustration, based on a defined time frame spanning the decades from 1890 to 1945. To this end, we selected a limited number of artists who make their work popular symbols of such representations, analyzing and comparing them in order to get closer to its social, political and cultural role, to understand the changing in models shown throughout the years. Likewise we proceeded in the last chapter. We elect to analyze the brazilian illustrator Alceu Penna in order to map out the dialogues of american illustration with national illustration. A stage for large graphical productivity, the proposed time frame begins at the end of the 1890s in the United States, a period that we saw the birth of the new model of woman personified in the features of the famous Gibson Girl. Go through to the 1920s, where the euphoria of the "crazy years" gave birth to women's ankles show and very short strands: the Age of the flapper. With the Great Depression of 1929 and World War II, another model emerges, the pin ups, making the previous euphoria in an atmosphere watered with patriotism and sensuality. Its influence reaches the country, influencing the production of various illustrators, like Alceu Penna. To build and understand the transformations suffered and their influences, we make use of primary sources, such as the illustrations found in digital museum collections and personal archives, and secondary sources, as several books, articles and essays. We seek to trace dialogues to enrich the debate about the illustrative representations of both countries, hoping to expand looks about the ways that the illustration is able to reveal. Analyzing female representations in Penna by parallels and conversations with north american models, we hope to assist in views of similarities and differences between the two productions, contributing with new thoughts on the graphic material of such cultures, their approaches and potential.

Moving from the basic assumption that media and television are vital sites of memory, pivotal spaces in which we learn about the past, this thesis argues that the most productive and progressive representations of the past are those that allow the past to interact with the present. Yet the past is not simply a representation in the present, it is also performed as cultural memory. One of the key concepts here is the idea that if we do indeed find historical knowledge on television and in everyday life as well as in museums and textbooks, then we might apply the concepts, roles and institutions of the museum, concepts like the archive and the curator, to television and historical consciousness in everyday life. Through this logic television programs are archives and audiences are curators, selecting music and fashions from the representation of the past and using them, performing them in everyday life. To explore this, I begin with textual analyses of the television shows American Dreams and Mad Men. Examinations of music and fashion in each show then gives way to inquiries into how the musical and sartorial artifacts contained in each program are brought out into everyday life. While these chapters primarily consider gendered histories and feminist cultural memories, I conclude with a consideration of racial histories, silenced memories and how unique juxtapositions can point to alternative archives and repertoires. / text

<p>ABSTRACT</p><p>INSTITUTION:</p><p>Institutionen för pedagogik, avdelningen för bild musik och kulturpedagogik, Växjö Universitet.</p><p>ADRESS:</p><p>Växjö universitet, 351 95 Växjö</p><p>TELEFON:</p><p>0470-70 80 00</p><p>HANDLEDARE:</p><p>Hans T Sternudd</p><p>TITEL:</p><p>PIN IT UP! – en studie av Pin-Up-bildens visuella utveckling under</p><p>1900-talet</p><p>ENGELSK TITEL:</p><p>PIN IT UP! – a study of the visual development in the Pin-Up-genre</p><p>during the 20th century</p><p>FÖRFATTARE:</p><p>Malin Welander</p><p>ADRESS:</p><p>Stallvägen 48:305, 35256 Växjö</p><p>TYP AV UPPSATS:</p><p>C-uppsats, 60 poäng</p><p>VENTILERINGSTERMIN:</p><p>Ht 2006</p><p>I uppsatsen undersöks Pin-up-bildens visuella och statusmässiga utveckling under 1900-talet.</p><p>Teorier som används behandlar modernism och postmodernism, institutionell konstteori samt begreppen kitsch och camp.</p><p>I uppsatsen undersöks hur Pin-Up-bilden utvecklas visuellt under perioden 1920-1970. Detta visualiseras med hjälp av semiotiska bildanalyser. Man undersöker även Pin-Up-genrens status och följer den utveckling och omvärdering av bilderna som sker i och med postmodernismens uppvärdering av populärkulturella och kommersiella uttryck.</p><p>I den avslutande analysen ges en möjlig förklaring till varför dessa Pin-Up-bilder har kvar sin popularitet ännu i dag, genom att man knyter dessa till Susan Sontags teorier om camp.</p><p>Keywords: Pinuppor, Pin-Up, postmodernism, modernism, popkonst, camp, kitsch, illustration</p>

ABSTRACT INSTITUTION: Institutionen för pedagogik, avdelningen för bild musik och kulturpedagogik, Växjö Universitet. ADRESS: Växjö universitet, 351 95 Växjö TELEFON: 0470-70 80 00 HANDLEDARE: Hans T Sternudd TITEL: PIN IT UP! – en studie av Pin-Up-bildens visuella utveckling under 1900-talet ENGELSK TITEL: PIN IT UP! – a study of the visual development in the Pin-Up-genre during the 20th century FÖRFATTARE: Malin Welander ADRESS: Stallvägen 48:305, 35256 Växjö TYP AV UPPSATS: C-uppsats, 60 poäng VENTILERINGSTERMIN: Ht 2006 I uppsatsen undersöks Pin-up-bildens visuella och statusmässiga utveckling under 1900-talet. Teorier som används behandlar modernism och postmodernism, institutionell konstteori samt begreppen kitsch och camp. I uppsatsen undersöks hur Pin-Up-bilden utvecklas visuellt under perioden 1920-1970. Detta visualiseras med hjälp av semiotiska bildanalyser. Man undersöker även Pin-Up-genrens status och följer den utveckling och omvärdering av bilderna som sker i och med postmodernismens uppvärdering av populärkulturella och kommersiella uttryck. I den avslutande analysen ges en möjlig förklaring till varför dessa Pin-Up-bilder har kvar sin popularitet ännu i dag, genom att man knyter dessa till Susan Sontags teorier om camp. Keywords: Pinuppor, Pin-Up, postmodernism, modernism, popkonst, camp, kitsch, illustration

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