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A arte brasileira tem seus olhares tradicionalmente direcionadosa horizontes distantes que têm o norte do mundo como foco, herançado período colonial, independentemente se esse interesse nos distanciade nossa realidade social, política ou cultural, daquilo que efetivamentenos distingue. Este ensaio propõe uma reflexão em torno das articulaçõesentre arte, localidade e identidade no mundo contemporâneo.

Neste artigo, por meio de pesquisa bibliográfica, objetiva-se explorar as contribuições do conceito de design reflexivo (NORMAN, 2008) na expectativa de longevidade dos produtos de moda, em busca de um cenário mais sustentável mediante o despertar de emoções agradáveis e a criação de vínculos afetivos entre os usuários e suas roupas. Considerando que parte da problemática socioambiental provém dos impactos de produção e consumo provocados pelo sistema de moda, opera-se a ideia de desenvolvimento de produtos que possam durar mais em função de seu valor emocional e que, portanto, venham contribuir para a desaceleração dos ciclos de descarte e substituição. Diante deste contexto, tomando como base a teoria do Design Emocional (JORDAN, 1999; DESMET, 2002; NORMAN, 2008), são elaboradas estratégias de design reflexivo que possam auxiliar na concepção de projetos com foco na facilitação de experiências emocionalmente duráveis. In this article, through bibliographic research, the objective is to explore the contributions of the concept of reflective design (NORMAN, 2008) in the expectation of longevity of fashion products, in search of a more sustainable scenario through the awakening of pleasant emotions and the creation of affective bonds between users and their clothes. Considering that part of the socio-environmental problem comes from the impacts of production and consumption caused by the fashion system, the idea of developing products that can last longer according to their emotional value and that, therefore, will contribute to the deceleration of cycles disposal and replacement. In this context, based on the theory of Emotional Design (JORDAN, 1999; DESMET, 2002; NORMAN, 2008), reflective design strategies are developed that can assist in the design of projects with a focus on facilitating emotionally lasting experiences.

La comprensión de una obra artística puede ser entendida como la asimilación de un continuo diálogo entre dos (2) temporalidades: la que posee por sí misma la obra, frente a la temporalidad del espectador que la observa. Este proceso de asimilación define el significado de una representación artística en un momento determinado de la historia. Bajo este principio se presenta a continuación el análisis visual de la obra Creación de las aves (1957), realizada por la artista Remedios Varo. El ejercicio centra su interés por definir diversos niveles de significación de la obra, a través de la propuesta de Erwin Panofsky y Didi-Huberman, de quienes se retoma el valor del anacronismo histórico como modelo de comprensión de una imagen detenida en el tiempo.

La Paz, la capital más alta del mundo (1948) y Donde nació un imperio (1949) suponen las dos (2) películas fundacionales de Bolivia Films Ltd., donde se rastrean elementos cinematográficos y visuales que permitirán comprender el cine moderno en Bolivia. Bolivia Films Ltd. a la cabeza de K. Wasson; conjuntamente Jorge Ruiz y Augusto Roca iniciarán el primer proyecto de profesionalización de cineastas en Bolivia y explorarán temas y formas desde esta casa productora. Así, se convierte en germen de los códigos cinematográficos visuales que imprimirá la Revolución Nacional desde su aparato de propaganda: el Instituto Cinematográfico Boliviano.

El objetivo del presente artículo es analizar el mural Dualidad del pintor oaxaqueño Rufino Tamayo. La finalidad consiste en la elaboración de una ficha de obra que contenga la descripción de los elementos del mural; con base en fuentes historiográficas, el contexto histórico, social y cultural en que se creó y la técnica empleada por el artista.

El presente artículo analiza la construcción de los sujetos sociales (actores sociales) que constituyen la nación, no en relación con los discursos hegemónicos de la historia tradicional o las narraciones con las cuales, en manos de diversos actores (blanco su mayoría), el Estado buscó resaltar el espíritu de la nación por medio de los lugares de la memoria y prácticas rituales. Más bien se enfoca en quiénes fueron los sujetos de inspiración de algunos artistas ecuatorianos en la primera mitad del siglo XX. Ellos construyeron un nuevo sentido sobre los sujetos de la nación, en particular para aquellos consumidores de arte pictórico a nivel nacional e internacional. Por lo tanto, el texto está enfocado en tres (3) artistas y tres (3) de sus obras: Joaquín Pinto con Orejas de palo (1902), Camilo Egas con Camino al mercado (1922-1923) y Eduardo Kingman con Los guandos (1941). Dichas obras son representativas del costumbrismo, el indigenismo y el realismo social (respectivamente).

In his long creative path Armando Marrocco (Galatina, Lecce 1939) investigated with singular methodicalness also the verbovisual field, declining it in mainly procedural and relational terms and returning it back to an anthropological perspective congenial to him, both in performative practice and in the pictorial and installation dimension. The contribution focuses on this neglected aspect of his activity, analyzing in particular those actions of the Seventies in which Marrocco stages the writing as a reactivation of a primordial ritual process, steeped in memories and poetry (the two series Paleo-grafia and Rivelazione) or derived from the involvement of his body (the stampa bocca o scrittura bocca sequence). Actions that, among other things, justify the participation of the artist for about a decade, starting from 1976, in the activities promoted by Ugo Carrega's Mercato del Sale. In addition, it will be seen how this research has its roots in the experimentation undertaken by Marrocco in the Sixties when, even with the support of the Apollinaire Gallery in Milan, the reflection on identity, ecological and social issues often translates into verbovisual expression. Finally, the presence of the word will become a constant in the site-specific installations of the Eighties, accompanied by wall texts personally transcribed by the artist.

In the limited overview of the Italian artist-run spaces in the 1970s, those promoted between 1969 and 1996 in Milan by Ugo Carrega (1935-2014) are of particular importance in the context of the verbo-visual arts: the Centro Suolo (1969-1970), the Centro Tool (1971-1973), the Mercato del Sale (1974-1991) and the Euforia costante (1993-1996). These galleries also worked as gathering places for culture, alternative networks, experimentation and publishing laboratories. Their artistic vivacity counterbalanced the limits imposed by almost nonexistent budget. By analysing several partitions from the Ugo Carrega archive, now mostly gathered at the Mart in Rovereto, this essay traces the events of those spaces. The archives is divided into four distinct groups: the Fraccaro-Carrega archive, the Archivio di Nuova Scrittura archive, the Ugo Carrega papers and the Dario Viva papers. Despite this partition and the peculiar fragmentation of the personal archives, the preserved documentation is particularly effective in narrating the creativity of the galleries linked to verbo-visual arts, through a plurality of documentary sources, such as photographs, correspondence, writings, printed material and administrative documents, but also artworks. Sometimes even whole ̶ but ephemeral ̶ exhibitions, these also preserved among the artist's papers.

The aim of this proposal is to explore the phenomena of mingling between artistic and verbal practice in the work of Italian artists of the Nineteen Nineties, examining their original characters compared to the production of the past and their influence on the present. Through videos, installations and performances, Liliana Moro, Maurizio Cattelan, Eva Marisaldi, Cesare Viel, Bernhard Rüdiger and others, open dialogues with literary works or trace words in the exhibition space, enclosing the message of the works in the intersection between text and image. By relying on new media and their transmedia properties, the artists create works that you can read, such as the stories on the walls of the underground by Viel (Passaggi qui dal sottoterra, 1998), or cite, draw inspiration and rework existing literary texts, as in the case of the installation La Casa (1993) by Moro and Rüdiger, inspired by writings by Pier Paolo Pasolini and Peter Handke. In order to analyze these works, I will use an interdisciplinary approach combining Art History and Visual Narrative Studies, with the purpose of analyzing the specific characteristics of commingling of words and images in the artistic production of the Nineties. The focus will be on the processes of citation, reworking, fragmentation and rereading used by artists, taking into account the possibilities of contamination between genres offered by the new media.

El presente artículo aborda la obra Conceptos sobre las artes del escritor y político ecuatoriano Juan León Mera, escrito en 1894. El ensayo de Mera sienta perspectivas personales del autor con respecto al mundo de las artes, sus características y su rol espiritual en la sociedad decimonónica. Entonces, el objetivo es analizar la definición del concepto de “las artes”, proporcionada por el autor. A través de una examinación del texto, se vislumbran los alcances y límites de esta palabra dentro del contexto de las sociedades modernas de finales del siglo XIX consideradas por Mera como culturas civilizadas.

The identity of the global concrete movement has depended on a set of explicit and implicit categories that enables critics, readers, and curators to differentiate what counts as concrete poetry from what does not. This paper takes as its starting point the classification of two very similar works of art, One Hundred Sonnets (1963) by the US American minimal artist Carl Andre and the series M 40. Dattilogrammi (1964/65) by Italian artist and poet Maurizio Nannucci. Both are works on paper; both are based on the multiple repetition of linguistic elements in the form of a square; and both were written with a typewriter. Despite these similarities, the two works have been treated completely differently: Andre’s work has been received as work of Minimal Art, and Nannucci’s as an example of concrete poetry. The attribution of these two phenomenologically and conceptually very similar works to two different art forms has important consequences from an art and literary historical point of view and for their position in the market as well. How can one make sense of the conviction that these two works are as different as oil and water? This paper aims to answer this question by describing how the context of presentation influences the way works are perceived, categorized, and enter the canon and the marketplace., piano b. Arti e culture visive, Vol. 5 No. 2 (2020): Image Writing. Verbo-Visual Arts from the Late Twentieth Century to Today | Language, Process, Narration

Between 1969 and 1970 the Arte Povera artists adopted the practice of writing in a series of works and projects related both to the linguistic and the artistic framework (statements, quotations, annotations / drawings, sculptures, performances). Tracing the perimeter of these works allows to focus on a turning point in the individual paths of these artists, who through these writing acts came to define the possibilities and meaning of their action, recovering and amplifying the forgotten bond between writing and the body, facing from different perspectives the theme of infinity, and giving birth to early examples of institutional critique. The title of this text is a paraphrase of the statement chosen by Ammann for the exhibition dedicated in 1970 to the «young Italian avant-garde» at the Kunstmuseum in Lucerne, Processi di pensiero visualizzati. The catalogue of that exhibition offers, along with those of other international shows held between Europe and the United States in the same months, a major source for this analysis, which calls into question the indissolubility of the relationship between the act of writing (or rather the practice which Barthes defined not as «écriture» but as «scription») and its material support and gives strength to the theoretical antiplatonic proposal of Derrida, matured in those same years, which identified in writing the necessary condition for the manifestation of thought.

“I don’t care about the solution; I am interested about the enigma. The scripts unveil the complexity of the artwork: (…) if you look for a permanent solution, you will never find it in art”: according to Vincenzo Ferrari (1941-2012) the unambiguity of signifier and meaning can be exceeded through the union of verbal and pictorial signs, a resolute certainty that leads the artist to focus his entire production during the 1970s on verbal and visual experimentation. After a first merely pictorial experience in the late 1960s, his artworks show a consolidation of the use of language through apparently meaningless self-created alphabets drawn freehand or printed through a printing press. The idea is conveyed by a “pictorial interpretation of writing” (Elena Pontiggia) that is examined within his Scale cromatiche, thus also by means of the continuous repetition of a single concept, like in the series of Banalità, at this point places composed by only words. In 1972, Ferrari joins the Venice Biennale showing his artist’s books, while in 1975 he signs the collective Manifesto della Nuova Scrittura where he explains that “The new writing is a ‘creative process’ through which finite opportunities reach their infinite ways of realization”. The real is thus transformed in a kaleidoscopic entity, thus enabling new unprecedented possibilities: the result is an extention of the imaginary that reveals, above all, an unconditional freedom of thought.

Atualmente na cultura de mercado, é possível ver marcas gráficas de grifes de moda estampando produtos, sendo também publicamente expostas como símbolos que identificam, distinguem e representam os seus usuários. Esse movimento, demonstra uma identificação e um acordo tácito de correlação entre a exposição pública do indivíduo com a marca, devido à esta forma de expressão identitária que, ao mesmo tempo, difere e representa o produto e o usuário. Este artigo desenvolve, um estudo exploratório descritivo-qualitativo do fenômeno chamado "Logomania", assim, como referência especial para os fashionistas, as marcas gráficas de grifes são publicamente expostas como entidades de culto e devoção, o que caracteriza este movimento "logomaníaco" como um meio de identificação dos usuários, sendo comumente observado na mídia de moda e consequentemente na cena urbana. A partir desse argumento através da fundamentação teórico-mercadológica a conceito de métodos de pesquisa ao estudo, propõe-se apresentar o fenômeno indicado, com a revisão e a aplicação sistemática de conceitos e contribuições teóricas sociais ligados a ele a cerca de considerações envolvendo Mídia, Moda, Marca e Cultura de Mercado

Neste artigo, analisamos as obras de Gordon Matta-Clark e Michael Wesely a partir de uma visualidade fragmentada que teve início na relação do sujeito com a câmera escura. Com base nessa visão descontínua e instável do observador, conceituada e relatada por Jonathan Crary, investigamos de que maneira os dois artistas se utilizam da fotografia como uma forma de desagregação dos limites que se estabelecem entre passado e presente, de modo que espaço e tempo tornam-se indeterminados. Utilizamo-nos, assim, das leituras de Walter Benjamin, Maurice Blanchot e Jacques Derrida sobre a ruína, para estudar como a imagem fotográfica se afirma como configurações dilaceradas, ao se oferecer, por meio de sobreposições, ramificações e excessos, como representações obliteradas e incompletas.

[EN] The recent recovery of the presumable oldest preserved Spanish cartoon short film, Francisca, la mujer fatal (K-Hito, 1933), thanks to the work of the Zaragoza Cinemateque in collaboration with the Spanish Film Library, allows us to inquire into the first serious attempt to settle at animated industry in Spain: the short-lived Spanish Cartoon Society (SEDA), which was created in Madrid thanks to Joaquín Xauradó and supported by a bunch of cartoonists from satirical magazines and political newspapers —akin to "the other 1927 generation”—, such as K-Hito, Antonio Got, Fco. López Rubio, Antonio Bellón or Manuel Alonso Moyano. During SEDA’s scarce two years of duration, these artists lit up a filmography composed of Un drama en la costa (Joaquín Xauradó, 1933), El rata primero (K-Hito, 1933), Francisca, la mujer fatal (K-Hito, 1933) and Serenata (Fco. López Rubio, 1934), all them relevant due to their pioneering nature.In the following pages we will meet Francisca’s main makers, whose work as animators was overshadowed by their own comic trajectory before and after SEDA, as well as their films, lost due to their meager printing and distribution —if they ever had—, as well as their preservation chances. This essay will also attend the framework that led to the business attempt, as well as the tense social and political context, and SEDA’s soon end due to the decease of Joaquín Xauradó, its main director, in the run-up to the Civil War., [ES] La reciente recuperación del que pasa por ser el cortometraje español de dibujos animados más antiguo conservado, Francisca, la mujer fatal (K-Hito, 1933), gracias a la labor de la Filmoteca de Zaragoza en colaboración con la Filmoteca Española, nos sirve de excusa para indagar en el primer intento serio de industria animada en España. Nos referimos a la efímera Sociedad Española de Dibujos Animados (SEDA), que fue creada en Madrid a instanciasde Joaquín Xauradó y secundada por un ramillete de dibujantes provenientes de revistas satíricas o periódicos de marcado corte político y del entorno de “la otra generación del 27”, como fueron K-Hito, Antonio Got, Fco. López Rubio, Antonio Bellóno Manuel Alonso Moyano, entre otros. En sus escasos dos años de vida alumbraron una breve filmografía compuesta por Un drama en la costa (Joaquín Xauradó, 1933), El rata primero (K-Hito, 1933), Francisca, la mujer fatal (K-Hito, 1933) y Serenata (Fco. López Rubio, 1934), y que solo por pionera cuenta con el máximo interés.En el presente trabajo conoceremos, pues, a sus principales artífices, cuyo paso por la animación quedó eclipsado por su propia trayectoria, anterior y posterior a la SEDA, así como sus películas, perdidas debido a lo exiguo de su distribución y tiraje —cuando lo hubo—, así como a los avatares propios de la conservación de los materiales. Este estudio que se detendrá en las condiciones que propiciaron el intento de negocio, el tenso contexto social y político en el que se desarrolló y su pronto final debido a la muerte de su músculo principal, Joaquín Xauradó, en los prolegómenos de la Guerra Civil.

The West has promoted for centuries a fragmentary and erroneous vision of the African continent, a territory subjected and enslaved by some of the great world powers. Colonialism helped foster a racist vision of Africa and its population from very early on, which was reflected in some animated short films made at the beginning of the 20th century. They did so by giving an archetypal vision of the African, both when they drew him as a human being —Jungle Jitters (Friz Freleng, 1938), The Isle of Pingo Pongo (Tex Avery, 1938)— and when they did it by providing him with features of a jungle animal —Africa Squeaks (Bob Clampett, 1940), Congo Jazz (Hugh Harman y Rudolf Ising, 1930)—, to increase the feeling of inferiority to which all these regions were reduced.

Além da ação policial, outros fatores contribuem para a prevenção do crime, dentre eles, o design. A abordagem Crime Prevention Through Environmental Design (CPTED) utiliza o design para modificar a percepção do transgressor quanto à oportunidade e o benefício do crime. O objetivo da pesquisa consistiu em identificar no Parque do Confisco (município de Belo Horizonte, estado de Minas Gerais, Brasil), sob a ótica do CPTED, fatores que favoreceriam a prática criminosa, bem como verificar a possibilidade de supressão desses fatores. Para tanto, elaborou-se pesquisa bibliográfica e observação espacial em campo. A análise dos dados teve como base as três estratégias do CPTED: controle natural de acesso, vigilância natural e reforço territorial, bem como considerou alguns aspectos da abordagem 3D (Designação, Definição e Design), típica do CPTED. Os resultados revelaram que a baixa visibilidade, a depredação e a manutenção precária são os principais aspectos que favorecem a prática criminosa no local. É possível implantar melhorias, porém, faz-se necessária a construção de projetos integrados que considerem tanto as dimensões físicas quanto as comportamentais.

The traditional concept of art is closely related to beauty and also to aesthetic pleasure. However, the emergence of avant‐garde and contemporary art has subverted that imagination. Art no longer seems to be pleasant, but it can also be disgusting and tedious, just like contemporary art that has often been criticized as such. From this point of view, this article attempts to look at the reasons why some art bores its viewers. From the epistemological perspective, we start to examine the philosophical thoughts of Plato and Kant on art, and the critique of Marxist ideology and aesthetics, exploring different perspectives on aesthetic beauty and pleasure. Furthermore, through the aesthetics of ugliness studied by Rosenkranz, of which opens the space for the discourse of negative beauty, we start our deduction of boredom in art. We discover that boredom generated by art does not have an absolute link with beauty and ugliness, but rather it has to do with the subjectivity of the viewers. With the examination of boredom from the perspective of the structure, content, time, mechanical production, and interpretation of the work, we have found that in addition to the characteristics of the work itself, the production of boredom is related to the educational and cultural background of the spectator, as well as to one´s personal taste. Finally, we also question whether art has begun to be boring and unremarkable after the historical progress of art being suspended, owing to “the end of art” suggested by Danto.

[EN] Based on the proposal to take part in the project "Variations on the map", a cycle of public and private actions conceived by the curators Ángela Montesinos and Juan Luis Toboso for the IVAM as a process of confronting the territory of the Barrio del Carmen (historic neighborhood of Valencia, Spain), in direct interaction with its multiple contexts (urban, social, economic and cultural), we developed (E)SPECULA(R), a collaborative work that invites to study cultural heritage, not only as what deserves to be preserved, but also as a space of material and symbolic dispute that affects the daily realities of the residents of certain territories that 'coexist' with heritage and under the impact of certain policies of heritage protection., [ES] A partir de la propuesta de formar parte del proyecto „Variaciones sobre el plano“, ciclo de acciones públicas y privadas concebido por los comisarios Ángela Montesinos y Juan Luis Toboso para el IVAM, que planteaba un proceso de confrontación con el territorio del Barrio del Carmen de Valencia, se desarrolló (E)SPECULA(R), un trabajo colaborativo que invita al estudio del patrimonio cultural, no solo como aquello que merece ser conservado, sino como un espacio de disputa material y simbólica que afecta a las realidades cotidianas de los vecinos de determinados territorios que ‘conviven’ con el patrimonio y bajo el impacto de determinadas políticas de protecciones patrimoniales., IVAM

Este estudo propõe investigar como pessoas com deficiência, estudantes de dança no contexto do ensino não-formal, percebem o campo de atuação artística profissional em dança como uma possibilidade para seus corpos. Trata-se de uma pesquisa de campo de natureza qualitativa, com uso de entrevista semiestruturada como instrumento de coleta de dados. Os dados foram discutidos adotando-se o conceito de Umwelt, proposto por Jacob von Uexkull, enfatizando as percepções próprias dos sujeitos participantes do estudo sobre a inclusão de seus corpos, considerados fora da norma, na produção artística da dança. Os resultados indicaram que a percepção sobre atuação profissional em dança é vinculada a modelos de corpo e dança de pessoas sem deficiência.

Baseado na política do HumanizaSUS, desde o ano de 2011 o Programa de Extensão Cuidado e Atenção ao Adolescente e Criança em Tratamento Oncológico (CAACTO), desenvolve atividades diversas junto à crianças e adolescentes acometidos por neoplasias. Em uma tentativa de atenuar os sofrimentos que se somam àqueles do diagnóstico e do isolamento que a vida hospitalar pode vir a causar, as intervenções musicais desenvolvidas semanalmente podem vir a ser um espaço de acolhimento e de promoção da saúde e do desenvolvimento humano. No ano de 2018, as intervenções cumpriram com seus objetivos de colaborar na humanização hospitalar e na proposição de um espaço educacional por meio da música. Essa experiência soma na formação dos alunos do Curso de Música no contexto educacional hospitalar, além de ser potente os momentos de trocas nas reuniões entre todos os integrantes do CAACTO, onde a interlocução teórico-prática para além do processo de adoecimento, permite a interdisciplinaridade na busca por melhores intervenções em benefícios de todos os envolvidos no programa.

O presente artigo objetiva compreender o modo como os tecidos africanos podem ser instrumentos das lutas antirracistas na sociedade brasileira. De modo específico, as reflexões conduzidas ao longo do artigo foram calcadas no Ofi/Pano da costa, no Adinkra e no Wax, três tecidos que remetem à África e que possuem significativa importância no Brasil enquanto repertório simbólico e identitário das pessoas negras. Como subterfúgio metodológico, vale dizer que a pesquisa possui uma abordagem qualitativa, na qual foram conduzidas três entrevistas em profundidade com sujeitos africanos, atualmente residentes no Brasil, que conhecem os tecidos e envolvem-se ativamente na difusão desses itens no Brasil. De um modo geral, os resultados do artigo apontam para o rico repertório simbólico, identitário e cultural que circundam os tecidos africanos, numa dinâmica em que os usos desses tecidos (re)conectam os sujeitos negros da diáspora às filosofias ancestrais e tradições culturais do povo africano. Portanto, os significados e usos dos tecidos representam importantes ferramentas para práticas decoloniais e antirracistas, (re)valorizando os múltiplos legados dos povos africanos.

This text proposes an account of the creative process De Lagarta a Borboleta with people with disabilities in the (APAE) Association of Parents and Friends of the Exceptional in Ouro Preto -MG. Thus, the article aims to contribute to the field of studies about the teaching and practice of Contemporay Theater in contexts of Special Education; in addition to focusing on the collaborative creation experience lived in theater practices developed by a group of interns from the Bachelor's degree in Performing Arts -UFOP / MG. Finally, it seeks to understand theater as a language and a path for the construction of knowledge linked to other knowledge, in an interdisciplinary context.

The present work proposes to interrogate, based on a photographic production and a later reflexive tour, the existing relationships between the ruins of the Historic Center of São Luís and the records that, through graffiti and “pichações/pichações”, young people from the periphery have carried out on the walls, doors and windows of historic houses in thecapital of Maranhão, Brazil. The methodology used for the production and inventory of the research images is based on a visual anthropology and an anthropology of the image. From the point of view of the way of operating the thought, I use some ideas of the philosopher Walter Benjamin (2012, 2009, 2013) about photography, remembrance and allegory. Lastly, I produce some commentaries on the meanings and aesthetic/political powers of graffiti and “pichações/pichações” in the Historic Center of São Luís -MA and the correspondence established with the ruins of the houses present there. The text is not intended as revisionist of themes related to graffiti, pichações/pixações and heritage, but a critical essay regarding how the visual arts operate in the contextof the correspondence between abandonment and appropriation of public space.

Creative Arts Educ Ther (2020) 6(2):200–208 DOI: 10.15212/CAET/2020/6/27 Home-based Art Therapy in Hong Kong 香港在家藝術治療發展 Abstract This article investigates the validity and impact of home-based art therapy practices in Hong Kong by highlighting the needs of the home environment, the unique structure of the therapeutic relationship, and the appropriate treatment planning. Additionally, general and culturally specific ethical concerns are examined within the context of home-based mental health care. A home-based art therapy case study is presented to illustrate the benefits and complexities of such a modality. The possibilities of further development in home-based art therapy in Hong Kong are examined. Keywords: Hong Kong, home-based art therapy, mobile art therapy 摘要 本文透過審視家庭環境的需求、治療關係的獨特結構以及適當的治療計劃，對香港居家藝術治療工作的認受性及效力進行探討。此外，在以移动心理治療為基礎的前提下，對一般及特定文化的道德考慮納入分析。運用居家為基礎的藝術治療案例，展示說明其好處及這形式包含的複雜度。對香港居家藝術治療進一步發展的可能性進行探討。 關鍵字：香港，居家藝術治療，移动藝術治療

Creative Arts Educ Ther (2020) 6(2):114–120 DOI: 10.15212/CAET/2020/6/26 A Taoist Perspective of Expressive Arts Therapy – Introduction to Hong Kong Special Edition Hong Kong 2020 從道家思想初探表達藝術治療 – 香港2020年特刊簡介 Abstract Drawing on the articles in the Hong Kong special edition of the journal Creative Arts in Education and Therapy (CAET), Eastern and Western Perspective, the author raises questions as to the way (tao) and a way of (re)imagining the local challenges. These questions serve as the responses of the author in the spirit of Zhuangzi’s wandering (yu) among these articles and have led him to consider how he could (re)imagine addressing these questions from the perspective of the Chinese and Asian worldviews. Keywords: Hong Kong, Expressive Arts therapy, Taoism, Zhuangzi, East–West 摘要 對應於 CAET期刋香港特刊收錄的多篇文章，本文作者嘗試提出一些相關的問題，並嘗試從「道」提出一個方向，作為一個方法，從新想像這一年來發生在香港本地的挑戰。透過莊子哲學的精神，尤其關於「遊」的詮釋與想像，成為作者對於這些文章的回應在這思考框架底下，帶領作者去考量，如何能夠透過中國/亞洲的世界觀去從新想像如何回應這些文章中談及的本土表達藝術治療現象. 關鍵字：香港, 表達藝術治療, 道家哲學, 莊子, 東西方文化的世界觀

A presente pesquisa é fruto de práticas participativas junto a pessoas com deficiência. A partir da dissertação e exposição Apagamentos retratos da privação, busquei responder aos apagamentos sociais da deficiência no campo da arte atrelando práticas participativas, processos fotográficos alternativos e o reencontro com as pessoas que fizeram parte da minha produção artística. Por meio de um laboratório de experimentações fotográficas – adaptado e portátil – intencionei possibilitar que pessoas com deficiência elaborassem seu próprio discurso, estimulando diálogos, a produção de imagens e contribuindo assim com as discussões sobre precariedade e reconhecimento no contexto da arte. A pesquisa e a prática artística apresentada e discutida neste artigo culminaram na exposição Permanências do reencontro realizada no Museu da Escola Catarinense — MESC — compondo-se pela apresentação dos processos e seus resultados fotográficos.

Creative Arts Educ Ther (2020) 6(2):153–170 DOI: 10.15212/CAET/2020/6/22 Decolonizing my Hong Kong Identity as a Settler in Canada: An Expressive Arts-based Inquiry 表達藝術本位研究: 從加拿大遷佔者到香港去殖民化身份認同 Abstract This paper documents an intermodel arts-based inquiry through engaging in expressive arts therapy. The author responded to reflexive questions: Who am I as a Hong Kong Chinese Canadian in the indigenous-colonial context of the 21st century? How can I carry my own decolonization through the arts? Carried out in Hong Kong and Ontario, Canada, this inquiry explored indigeneity, settler colonialism, personal and collective history, and family memories. Keywords: settler colonialism, decolonize identity, expressive arts-based inquiry, Indigenous-settler relations, cultural healing 摘要 作者以表達藝術治療的方法論進行藝術本位研究 (art-based inquiry)，探討自身作為加拿大遷佔者(settler) 與香港去殖民化的身份認同，在「原住民 – 殖民者」(indigenous-colonial) 的脈絡下反思加拿大香港移民身份，探討如何透過表達藝術治療深化去殖民化的身份認同。本文記錄作者在香港及加拿安大略省為期三個月的藝術本位研究過程，思考原住民性、遷佔殖民主義、個人與集體歷史，以及家族記憶。 關鍵詞：遷佔殖民主義，身份去殖民化，表達藝術本位研究，原住民—遷佔者關係，文化療癒

This article discusses the theme of the construction of stereotyped social representation of the sertão and sertanejo from the exploration of the image of the cangaço. Using Serge Moscovici's theory of social representations and Duval Albuquerque's analysis of the invention of the Northeast, we analyzed the forms and themes from which the illustrated press and even the cinema of the 1950s explored the representation of cangaço for print the image of savagery to the sertão, making the hinterland culture and its true social tensions invisible, reducing the sertão to a stereotyped character.

This article seeks to understand the aestheticperceptions of lesbian women about sex shop products. Thus, this is an exploratory, basic and descriptive research, which was developed from field research with interviews, using a semi-structured questionnaire. This questionnaire was applied to focus groups, both online and in person, and the analysis of these data was carried out in a qualitative way. In the case of this study, it was possible to identify that the aesthetic perceptions of lesbian women about sex shop products follow from a relationship of power with the partner to a relationship of strangeness with the object, generating possible discomfort. Still, both in online research and in face-to-face research, it was possible to identify that there is a preference for phallic sex toys with artificial colors and shapes.

Creative Arts Educ Ther (2020) 6(2):187–199 DOI: 10.15212/CAET/2020/6/5 Ink for Mettā 墨‧映 Abstract “Ink for Mettā” is the integration of Chinese calligraphy and mettā meditation in the practice of expressive arts therapy. Chinese calligraphy is a traditional form of writing with aesthetic appreciation value, and it is one of the Buddhist meditative practices for enhancing self-awareness. Mettā meditation is a Buddhist tradition of fostering loving kindness with an altruistic view from self toward others. Instead of tackling any emotions or thoughts arising during both practices, we should acknowledge them and return to the present moment of practice. The practices leave room for expressive arts therapy to explore the unattended emotions and thoughts for furthering well-being. The integrative use of Chinese calligraphy and mettā meditation is structured basing on a framework for using art in therapy, expressive therapies continuum. The concepts and applications of “ink for mettā” will be discussed, and the potential for further incorporation of dance and movement therapy will be explored. Keywords: ink, Chinese calligraphy, mettā meditation, expressive arts therapy, Buddhist practice 摘要 《墨‧映》是中國書法和慈心觀在表達藝術治療實踐的結合。中國書法是一種具有美學欣賞價值的傳統書寫藝術，抄寫經文更是佛教修煉自心覺性的練習。慈心觀是一種佛教傳統修持，提倡自利利他的精神，培養慈愛 。修持旨在提升專注力和覺察，當情緒和念頭生起，毋須對抗，只要覺察，並回到當下的修習。表達藝術治療正與這種修習相應，在活動的過程中，讓潛藏的情緒被探視，以至逐漸得到紓解，促進心靈健康。中國書法和慈心觀在表達藝術治療的實踐，建基於運用藝術於治療中的「表達性治療連續系統」理論架構。本文將分享《墨‧映》的概念和應用，並進一步探討加入舞蹈治療元素的可能性。 關鍵詞：墨, 中國書法, 慈心觀, 表達藝術治療, 佛教修持

Creative Arts Educ Ther (2020) 6(2):121–126 DOI: 10.15212/CAET/2020/6/30 Hong Kong 2020. Taking the Pulse 香港2020脈搏 Abstract Three veteran art therapists reflect on thedevelopment of the art therapy professionin Hong Kong over the past 10 years, the ways in which it has changed and the struggles still in front of them. From qualifying outside of Hong Kong, to the establishment of the Hong Kong Associationof Art Therapy (HKAAT), to adapting the models to Hong Kong society and Chinese culture, to the current pandemic (COVID 19), the art therapists share a love for art and a devotion to the field. Three veteran art therapists reflect on thedevelopment of the art therapy professionin Hong Kong over the past 10 years, the ways in which it has changed and the struggles still in front of them. From qualifying outside of Hong Kong, to the establishment of the Hong Kong Associationof Art Therapy (HKAAT), to adapting the models to Hong Kong society and Chinese culture, to the current pandemic (COVID 19), the art therapists share a love for art and a devotion to the field. Keywords: Art therapy, Hong Kong, professional development, professional accreditation, health care 摘要 三位資深藝術治療師反思了香港藝術治療專業在過去十年中的發展，其變化方式以及仍然面臨的挑戰。從來自香港以外的認可，到成立香港藝術療法協會（HKAAT），使模型適應香港社會和中國文化，再到當前的流行病（COVID 19），藝術治療師充滿對藝術和對領域的熱愛。 关键词： 藝術療法，香港，專業發展，專業認證，醫療保健

O presente artigo reflete sobre a produção de peças de vestuário para adolescentes com obesidade mórbida de 12 a 14 anos, tendo em vista o número crescente de usuários na condição de excesso de peso e a forma como as marcas elaboram seus produtos de moda. O objetivo é ampliar o debate sobre os padrões de beleza do mercado, refletir sobre a práxis do designer, além de indagar se o vestuário oferecido atende às adolescentes em questão. O método utilizado foi revisão bibliográfica, levantamento de lojas do setor, aplicação de questionários às meninas estudadas e aos seus responsáveis, além de entrevistas com os profissionais responsáveis pelo atendimento médico delas no Hospital Pedro Ernesto, localizado em Vila Isabel, campo escolhido por reunir maior número de adolescentes em situação de obesidade. Para entender o mercado de moda, realizamos entrevista com a dona de uma marca carioca de moda feminina infantojuvenil estabelecendo um paralelo com outra marca do setor feminino, encerrando com uma reflexão acerca da prática profissional do Designer dentro do modo de produção capitalista, e a atividade laboral de desenhar roupas para os usuários. A pesquisa é relevante por convidar os pares a refletir sobre os padrões estabelecidos de beleza e de produção, que materializados na forma como estão elaborando os produtos de vestuário, de acordo com as condições materiais de produção não atendem as usuárias em questão.

Creative Arts Educ Ther (2020) 6(2):127–140 DOI: 10.15212/CAET/2020/6/24 Making Meaning Out of Intersectionality Through Expressive Arts Therapy: A Case Study 透過表達藝術治療從多元交織身份中建構意義：個案研究 Abstract This paper illustrates how Expressive Arts therapy within a depth psychotherapy perspective helps one to face a heightened awareness of the four existential givens of life: death, isolation, freedom, and meaninglessness. The case of a mainland Chinese gay man, recently diagnosed with HIV, demonstrates how his intersectional identities come into play throughout the therapeutic process of meaning-making. Guided meditation and relaxation through listening to music, drawing, improvisation using the voice and the body, psychodrama techniques, story writing and Chinese calligraphy, which combines writing and drawing, all highlight the role of intermodal arts in igniting and deepening the process. Keywords: intersectionality, existential, Expressive Arts therapy, meaning-making, Chinese 摘要 本文章說明表達藝術治療在深度心理治療的角度下如何幫助個案面對獲提高覺察的人生四大終極關懷 – 死亡、孤立、自由及無意義。一位新確診感染愛滋病病毒的中國內地的男同志個案將展示多元交織身份在意義建構的治療過程中如何發揮作用。聆聽音樂下導引冥想及放鬆、繪畫、聲線及身體的即興、心理劇技巧、故事創作及結合寫作和繪畫的中國書法突顯跨藝術媒介如何點燃和深化過程。 關鍵字：多元交織性，存在主義，表達藝術治療，意義建構，華人

Creative Arts Educ Ther (2020) 6(2):171–178 DOI: 10.15212/CAET/2020/6/1 Growing to be Independent in an Interdependent Culture: A Reflection on the Cultural Adaptation of Creative and Expressive Arts Therapy in an Asian Global City 在相互依存的文化中成长为独立的人： 对创造性和表达性艺术治疗于亚洲国际都会中的文化适应之反思 Abstract Hong Kong is culturally unique. Although its Chinese culture is ingrained, it is also deeply saturated by Western culture due to its long history of Western governance. When considering this in relation to personal and cultural self-construal, the question arises of whether people in Hong Kong tend to view themselves as more independent or interdependent. This question is important for creative and expressive arts therapists because self-construal affects an individual’s motivations for emotional expression and self-development in relation to others, which then affects how arts therapists can encourage individuals to express emotions and grow towards independence and self-actualization. Various clashes may arise between independent and interdependent cultures due to their different life emphases. Therefore, when adapting the skills and knowledge of creative and expressive arts therapy to an interdependent culture, full attention must be paid to supporting individuals in such a culture to discover the optimal balance of the self in relation to others and the community at large, while also considering the dynamic changes in the culture itself over time. Keywords: Independent self, Interdependent self, Chinese, Creative and expressive arts therapy, Hong Kong 摘要 香港具有独特的文化。尽管中国文化根深蒂固，由于长时间受到西方的统治，香港文化亦受到西方文化的深度熏陶和浸润。基于这点，当我们探讨个体和文化自我观念的建构时，我们会遇到「香港人到底是倾向于将自己视为较独立的，还是较相互依存」的命题。这个命题对创造性和表达性艺术治疗很重要，原因是自我观念会影响个人尤其是与人相处时的情感表达和自我发展的动机和取向，对艺术治疗师能够如何鼓励个人表达情感以让个体朝着独立和实现自我的方向成长有着重要影响。还有，生活重点在人生的不同阶段会有所不同，独立和相互依存文化之间的角力或会造成各种冲突。因此，于相互依存的文化下应用创造性和表达性艺术治疗的技巧和知识时，我们必须加倍注意如何让个人在发展个体自我的同时能够与他人和整个社会状况取得平衡，以符合相互依存的文化环境; 并同时须考虑到文化本身亦会随着时间不断变化而出现各种改变。 关键词：独立的自我， 相互依存的自我，中国，创造性和表达性艺术治疗， 香港

Creative Arts Educ Ther (2020) 6(2):179–186 DOI: 10.15212/CAET/2020/6/2 Expressive Arts Therapy with Chinese Calligraphy Elements as a Working Approach 中國書法元素融入表達藝術治療作實踐模式 Abstract The properties of Chinese calligraphy and its beauty have captured the imagination and expression of artists throughout the Eastern history. Although some in the Chinese world still practice Chinese calligraphy as an art today, many first encounter it as part of the literacy education in primary school curriculum. Repetitive mimicking is often emphasized in the process without much creative element. As a Chinese calligrapher who aspires to reflect on the creative aspect of the art form, this author chose to integrate elements of Chinese calligraphy with other art modalities in work with teenagers in school setting. This article will look at applying Chinese calligraphy elements to a framework called the expressive therapies continuumin group therapy setting. Keywords: Chinese calligraphy, Expressive therapies continuum, Expressive arts therapy 摘要 中國書法的特性及其美麗捕捉了整個東方歷史藝術家的想像力和表達。在華人社會中有不少人仍將中國書法視作為藝術來實踐，但許多初次接觸中國書法卻是小學課程中練字課程內。在教學過程中通常會強調重複模仿，而沒有太多創意元素。作為一位反思藝術形式創造性方面的中國書法愛好者，作家選擇將中國書法的元素與其他藝術形式相結合，並與學校中的青少年一起實踐。本文將探討如何將中國書法元素應用於團體治療中，並探討在表達性治療連續系統框架下的應用。 關鍵詞：中國書法，表達性治療連續系統，表達藝術治療

Creative Arts Educ Ther (2020) 6(2):209–220 DOI: 10.15212/CAET/2020/6/23 Two Sides of Landscape in Ink-wash Painting: Chinese Landscape Painting in Expressive Arts Practice 水墨的兩面風景：從表達藝術治療理解中國山水畫創作 Abstract Chinese landscape painting does not pursue the accuracy of the subject’s outer appearance, instead, it captures the energy, life force, and spirit beyond. The various styles of calligraphic lines are expressive and become a language to convey one’s belief. The interwoven relationship between Chinese landscape painting and painter exhibits its compatibility with the practice of expressive art in some aspects. The high skill/high sensitivity required for Chinese landscape painting evokes a good awareness of oneself, it exercises the senses and opens up the imagination. The expressive calligraphic brushstrokes create a delicate world that echoes the inner state of the painter that will lead the way and reveal itself. Being immersed in the “landscape” in the painting enables people to remove themselves from daily life and channel themselves into another world. The sense of being insignificant in the face of the vast landscape teaches the viewer to surrender to what may come and to uncertainty. Keywords: Chinese landscape painting, Expressive arts, Taoism, high sensitivity 摘要 中國山水畫並非追求描繪景物外形上的相似，而是著重表達其蘊藏的能量、生命力及內在精神。千變萬化及靈活的筆觸線條甚具表達力，讓其成為語言述說自己的故事。與表達藝術治療一樣，中國山水畫裡的創品與畫者有著親密互動的關係。中國山水畫要求的高技術高敏感度能喚起畫者自身的覺察、提升感官敏感度和擴展想像力。具生命動感的書法線條能創造一個細緻的世界，由畫者的心驅使畫筆，以展現及回應畫者的內在狀態。當畫者/ 觀賞者攝於山水畫裡雄偉的「風景」時，這片刻能讓他們精神上離開日常的紛擾，並進入另外一個世界，於大自然中感應其自身的渺小亦讓人領悟出以更寬容的態度應對未知。 關鍵詞：中國山水畫，表達藝術，道，高敏感

Creative Arts Educ Ther (2020) 6(2):141–152 DOI: 10.15212/CAET/2020/6/4 Expressive Arts as a Way of Making Meaning and Gaining Insight: An Eastern Perspective with the “Mind” 從東方思想探討表達藝術作為尋找意義與洞見的方式 Abstract This article includes two parts. Part I attempts to use one of the Buddhist psychology theories, “five ever-present mental states,” to illustrate how our mind is interconnected and propose how the act of art-making increases the capacity of intuitive thinking and connects feelings and logical thinking with the architecture of expressive arts therapy. Part II illustrates a series of expressive arts workshops, “Expressive Arts as Inquiry” launched for people who wanted to use art for processing, connection, and exploration of themselves in a community classroom for adults. Participants came from different backgrounds. Two case studies revealed how this art-making process brings change with each of them experiencing new ways of thinking/awareness of their different mental states and sense-making through art-making. Keywords: expressive arts therapy, Buddhist philosophy, perspective, mind, intuitive thinking 摘要 本文包括兩個部分。第一部分作者嘗試使用佛教心理學理論之一「五篇行心所」來說明我們的思想是如何互相連繫，並提出一個表達藝術治療如何增加直覺思維的論述：表達藝術治療如何增加我們的內在空間去處理情感和邏輯思維。第二部分作者描述了她在香港社區舉辦的一個名為「表達藝術探究」的工作坊。參加者來自不同的背景，參與的目的是透過藝術創作以連繫及探索自己。作者透過兩個案例研究描述表達藝術的過程是如何為個案的思維角度帶來改變，他們如何透過藝術創作獲得新的意義及洞見。 關鍵詞：表達藝術治療，佛教心理學，思維角度，直覺思維，意識

El proceso de creación y producción de las series de ficción históricas en España ha mostrado un notorio crecimiento durante los últimos años. Con Isabel (2012- 2014), Víctor Ros (2015-2016) y El Ministerio del Tiempo (2015-2020) Javier Olivares y su hermano han logrado dar vida a un universo único logrando invadir la pantalla de personajes históricos ligados al patrimonio cultural español. Olivares, uno de los más importantes productores y guionistas de la ficción española de nuestros días, habla en esta entrevista de la lógica de realización de las series ficcionales e históricas. Se detallan además cuestiones ligadas a la (re)producción y a la (re)creación de figuras emblemáticas del arte y la historia de España, su proceso de construcción estético, su grado de alcance e impacto en la sociedad, así como las perspectivas futuras del productor. In recent years, the genre of historical fiction has seen notable growth in Spanish television. With Isabel (2012-2014), Víctor Ros (2015-2016) and El Ministerio del Tiempo (2015-2020), Javier Olivares manages to give life to a unique universe, managing to invade viewers’ screens with historical characters linked to Spanish cultural heritage. Olivares, one of the most important producers and scriptwriters of Spanish fiction today, talks about the logic behind the production of fictional and historical series in this interview. Issues related to the (re) production and (re) creation of emblematic figures in the art and history of Spain, their aesthetic construction process, their degree of scope and thier impact on society, as well as the producer’s upcoming projects.

Reseña del libro de Ricard Carbonell i Saurí (2019). La mirada prohibida. El plano subjetivo en el cine.

Reseña del libro de Filomena Serra, Paula André y Sofia Leal Rodrigues (2020). Projectos editoriais e Propaganda. Imagens e Contra-Imagens no Estado Novo.

En el presente capítulo realizaremos un análisis textual de la película Amor (Amour, 2012) de Michael Haneke. Hemos seleccionado el fragmento —localizado en la tercera secuencia del filme— en que la protagonista Anne se queda mirando al vacío en estado de catatonia mientras su marido Georges intenta reanimarla sin éxito. Para ello, haremos uso metodológico de la Teoría del Texto y tomaremos como marco conceptual el estudio de lo real elaborado por Jesús González Requena dentro del campo psicoanalítico. Más concretamente, nos centraremos en su teorización en base a la función de la Imago Primordial en el surgimiento de la consciencia aplicada a la técnica del plano contraplano. Planteamos como hipótesis explorativa que, más allá de la dimensión comunicativa de esta técnica, persiste una huella de lo real que desactiva todo enunciado denotativo.

El presente estudio aborda el concepto de la “imagen-exceso” (Lipovetsky y Serroy, 2009), un recurso cinematográfico que consigue introducir al espectador en una sucesión vertiginosa de escenas visuales hiperespectaculares. Es a partir de la extraordinaria evolución tecnológica de las últimas décadas cuando las creaciones digitales (realidades virtuales) han generado imágenes en el cine que llegan a competir con la realidad, solapándola y haciendo compleja su diferenciación para el receptor. En el texto abordamos el papel determinante que el simulacro y el juego ejercen al ser motores clave para la construcción de esa imagen-exceso, que se establece entre parámetros virtuales de características neobarrocas y sublimes. Por tanto, nos adentraremos en conocer cómo el simulacro se desarrolla en el ámbito del cine, y cómo el juego va desplegando todo su potencial para actuar en la mente del espectador con el firme propósito de inducirle a una hiperrealidad, la metarrealidad que el propio cine supone. Aunque algunas producciones cinematográficas presentan la limitación conocida como uncanny valley al producir un rechazo de credibilidad en el observador, nuestra principal conclusión subraya la necesidad de atracción que ha de suscitar la imagen-exceso para que el simulacro y el juego hagan acto de presencia. The present study addresses the concept of the “image-excess” (Lipovetsky & Serroy, 2009), a cinematographic resource that manages to introduce the viewer into a dizzying succession of hyperspectacular visual scenes. It is from the extraordinary technological evolution of the last decades when digital creations (virtual realities) have generated images in the cinema that come to compete with reality, overlapping it and making its differentiation complex for the receiver. In the text we address the determining role that simulation and game play as they are key drivers for the construction of that image-excess, which is established between virtual parameters of neo-baroque and sublime characteristics. Therefore, we will delve into knowing how the simulation develops itself in the field of cinema, and how the game unfolds its full potential to act in the mind of the viewer with the firm intention of inducing him to a hyper-reality, the meta-reality that cinema supposed. Although some cinematographic productions present the limitation known as uncanny valley by producing a rejection of credibility in the observer, our main conclusion underlines the need for attraction that the excess-image must arouse, so that simulacrum and game make an appearance.

This paper aims to analyze the activity of the three biggest movie studios in social media, 20h Century Fox, Warner Bros and Universal Studios, and how that is affecting in the numbers and importance of each. Through deep searches, professional advice and the use of some statistic programs, we were able to pull out some interesting assumptions that will be discussed. We have focused in different parts of each Social Media since, we think, each one is designed to fulfill one specific aspect, for example create discussions or just present a piece of work or trailer in our case. With that approach we expect to determine which of the companies has understood better the way they have to be used and if they had won any kind of advantage through the good use of this medias presented as more interaction between themselves and the viewers and a more effective way to present their products. We conclude a correlation between movie studios impact and social media in terms of posts and comments. YouTube is the main social media for movie studios companies.

En este texto se analiza la película Rostros y Lugares de la cineasta Agnès Varda y del artista gráfico JR (2017) tomando en cuenta su condición de documental performativo y siguiendo algunas pautas teórico-metodológicas que los estudios visuales como campo y como método ofrecen. Este análisis permite reflexionar sobre las funciones emotiva y reflexiva de las imágenes, ya sean fotográficas, cinematográficas, de gran formato, analógicas o digitales. Así como en su repercusión estética y sociopolítica siguiendo los aportes de Bill Nichols, Nicholas Mirzoeff y Gille Deleuze. El análisis se divide en cuatro tipos de imágenes que ayudan a comprender cómo funciona narrativa y estéticamente el filme, un documental que además está constituido por instalaciones fotográficas y por sus réplicas en internet, estas son: imágenes instalación, imágenes introspección, imágenes ausencia e imágenes reproducción, una taxonomía en construcción que puede servir de base para el estudio de otros filmes de esta naturaleza.

Revisiting his 1996 book entitled Fellini’s Films: From Postwar to Postmodern, Frank Burke has published an updated analysis of the director’s films, adding to the original treatment a preface and a new chapter on Fellini’s commercials. The occasion of the revival is, of course, the centenary of Fellini’s birth. This volume and the 2020 edited collection A Companion to Federico Fellini, which Burke coedited with Marguerite Waller and Marita Gubareva, are most welcome as a counterbalance to the notable underappreciation of Fellini’s production in Anglo-American film studies in the past, where feminists dismissed Fellini’s works, disapproving of his construction of gender, even if a more careful analysis would have revealed the complexity of such a construction in his filmic universe. The hyper-intellectualism of French post-1968 semiological theory, in conjunction with a puritanical British counter-cinema that rejected cinematic pleasure, marginalised not only Fellini, but a good deal of Italian cinema. French-infused British theory was incapable of reading Fellini’s work in the light of his own culture, and of a vast sensual tradition of Italian visual art. Dismissing them a priori on theoretical grounds, the academic theorists did not pay close attention to Fellini’s films.

Stefano Baschiera and Miriam De Rosa’s Film and Domestic Space arrived on my desk during the first wave of Covid-19 lockdowns, at a moment when attention had naturally turned inwards to the domestic interior. The book has therefore gained an unexpected sense of topicality. As the new constraints of physically distanced living have transformed houses and apartments into digitally networked hubs for home working and online social interaction, public and private space have blurred in unforeseen ways. More than ever, the home has become visible via media technologies. Through video calls and the ubiquitous array of the Zoom screen—now a staple of family hangouts, classrooms, and business meetings alike—images of other people’s homes have rarely been so present in our everyday lives. On television, broadcasting from home has offered glimpses into the domestic interiors of politicians, celebrities, presenters, and pundits—with the staging and semiotics of bookshelves even briefly becoming a topic of online debate (Guest). In short, the pandemic has not only produced a wide range of domestic imagery. It has also revealed domestic space as a site of media productionas well as media consumption, bringing into focus how the home can operate as a type of moving image apparatus—or as Baschiera and De Rosa put it, as a dispositif. As their timely book shows, this exchange between screen media and domestic space has a varied and complex history.

espanolNo Brasil, ao longo do seculo XX, as fotografias publicadas nas paginas de revistas e jornais modelaram um espaco publico visual, em que fatos e fotos se conjugavam na narrativa dos acontecimentos. A cidade do Rio de Janeiro, capital brasileira ate 1960, foi o espaco privilegiado para a institucionalizacao da pratica fotografica, pois nela se concentravam, desde o seculo XIX, os principais estudios fotograficos, bem como as casas editoriais responsaveis pela circulacao e comercializacao de impressos. Neste artigo abordamos os itinerarios da fotografia publica no Brasil contemporâneo. Volta-se para a avaliacao da producao de um espaco publico visual, valorizando tres momentos em que a pratica fotografica se consolida em espacos da imprensa semanal, diaria e independente: as revistas ilustradas cariocas da primeira metade do seculo XX, com destaque para quatro magazines: “Careta”, “Revista da Semana”, “Fon-Fon” e “O Cruzeiro"; o fotojornalismo de jornais diarios, “Jornal do Brasil” e "Ultima Hora”, nos anos 1950 e 1960; e as agencias de fotografos independentes das decadas de 1970 e 1980, como: Central, Angular, F4, AGIL Fotojornalismo, Fotocontexto, entre outras, atuando como importantes instrumentos de documentacao dos movimentos sociais, e promovendo a consolidacao producao independente, a pratica de arquivo dos originais o controle sobre a publicacao e difusao de fotografias. Compreende-se que em tais espacos forjou-se a fotografia publica como uma das dimensoes da experiencia historica contemporânea que se apoiou na imagem tecnica para plasmar seus acontecimentos. Com vistas a indagar sobre como em cada um desses dominios a historia foi visualizada, propoe-se um roteiro que se inicia com uma breve consideracao sobre fotografia publica e espaco publico visual, seguida de uma reflexao sobre producao de noticias nos semanarios ilustrados, passando pela inscricao dos acontecimentos no regime dos foto icones e chegando a pratica fotografica independente. Conceitualmente, compreende-se a pratica fotografica suas formas de ver, apresentar e representar o mundo social como experiencia historica fundadora do mundo ocidental contemporâneo. Os circuitos sociais fotografia e seus usos e funcoes multiplicaram-se em uma economia visual sustentada na imagem tecnica como dispositivo de producao de sentido social. Em termos metodologicos, utiliza-se da analise historica da documentacao primaria que se encontra na base de dados da hemeroteca digital da Biblioteca Nacional do Brasil e nos arquivos do Laboratorio de Historia Oral e Imagem da Universidade Federal Fluminense. A analise historica complementa-se com uma avaliacao das formas comunicativas e do poder de significacao de quatro fotografias, destacadas de cada um dos periodos historicos analisados. EnglishIn Brazil, throughout the 20th century, the photographs published on the pages of magazines and newspapers modeled a visual public space, in which facts and photos were combined in the narrative of events. The city of Rio de Janeiro, the Brazilian capital until 1960, was the privileged space for the institutionalization of photographic practice, since it was concentrated, since the 19th century, the main photographic studios, as well as the editorial houses responsible for the circulation and sale of prints. The article addresses the itineraries of public photography in contemporary Brazil. It focuses on the evaluation of the production of a visual public space, valuing three moments in which the photographic practice is consolidated in spaces of the weekly, daily and independent press: the illustrated magazines from the first half of the 20th century, with emphasis on four magazines: "Careta", "Revista da Semana", "Fon-Fon" and "O Cruzeiro"; the photojournalism of daily newspapers, “Jornal do Brasil”and “Ultima Hora”, in the 1950s and 1960s; and the agencies of independent photographers of the 1970s and 1980s, such as: Central, Angular, F4, AGIL Fotojornalismo, Fotocontexto, among others, acting as important instruments of documentation of social movements, and promoting the consolidation of independent production, the practice of archiving originals, control over the publication and dissemination of photographs. It is understandable that in such spaces public photography was forged as one of the dimensions of contemporary historical experience that relied on the technical image to shape its events. In order to inquire about how history was visualized in each of these domains, it proposes a script that begins with a brief consideration of public photography and visual public space, followed by a reflection on news production in the illustrated weeklies, including the registration of events in the regime of the photographic icons and arriving at the independent photographic practice. Conceptually, photographic practice is understood as ways of seeing, presenting and representing the social world, a historical experience that founded the contemporary Western world. The social circuits in photography and their uses and functions multiplied in a visual economy sustained by the technical image as a device for the production of social meaning. In methodological terms, it uses the historical analysis of the primary documentation found in the database of the digital library of the National Library of Brazil and in the archives of the Oral History and Image Laboratory of the Universidade Federal Fluminense. The historical analysis is complemented with an appraisal of the communicative forms and the power of meaning of four photographs, highlighted from each of the historical periods analyzed.

This paper reflects on work-in-progress on archived media fans’ letterzines of the 1970s and 1980s. Growing out of the science fiction APA fanzine scene, letterzines collect letters of comment (LOCs) between female fans and capture conversations about their television viewing. Zines from this period go beyond science fiction and include fandoms for cop shows such as Starsky & Hutch (ABC, 1975–1979) and Simon & Simon (CBS, 1981–1989). Letterzines, which have not typically been used as a source for exploring women’s television history, contain a range of information of interest to historians: interpretations of character and narrative, reports on fan conventions and meet-ups, and discussions of how women related to contemporary television at a time when VCRs started to saturate the domestic market. These primary source documents can potentially nuance assumptions about what women watched, their views on the programmes, and the contexts in which they watched.