Publication: La representación de la mujer china en el cine chino: una mirada semiótica
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2021-03-08
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Universidad Complutense de Madrid
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Abstract
Este trabajo pretende abordar la representación de la moda femenina en algunas películas representativas del cine chino. La selección de dichas películas ha tenido en cuenta tres géneros muy representativos en la cultura china que se abordarán desde la perspectiva de la semiótica de la cultura y la semiótica de la moda. En el cine chino, la representación de las mujeres puede dividirse en varios géneros dependiendo del vestuario que porten. Estos signos y significados del vestuario pueden considerarse como una ventana hacia la cultura y la sociedad chinas. En la película La maldición de flor dorada (Zhang Yimou, 2006), por ejemplo, el vestuario representa el lujo y el régimen de visibilidad abierta en la corte de la dinastía Tang (618 d.C-907d.C). La actitud y mentalidad más abierta ante el vestuario es el resultado de la cultura dinámica de esta época. Otros géneros muy importantes de la representación femenina en el cine chino son el wuxia y el yokai, que provienen de la literatura wuxia y las leyendas antiguas chinas. Estos dos géneros están muy influidos por las filosofías tradicionales de China, que constituyen un fiel reflejo de la estética antigua china y el régimen tradicional...
This work aims to address the representation of women's fashion in some representative films of the Chinese cinema. The selection of these films has taken into account three representative genres in Chinese culture. He wants to approach the present work from a perspective of the semiotics of culture and the semiotics of fashion. In Chinese cinema, the representation of women can be divided into several genres depending on the costumes they wear. These wardrobe signs and meanings can be seen as a window into Chinese culture and society. In the movie The Curse of the Golden Flower (Zhang Yimou, 2006), for example, the costumes represent the luxury and the regime of open visibility in the court of the Tang dynasty (618-907). The open attitude towards costumes is an obvious result of the dynamic culture of this era. Other very important genres of female representation in Chinese cinema such as wuxia and yokaithat come from Wuxia literature and ancient Chinese legends. These two genres are very much for the traditional philosophies of China, which constitute a faithful reflection of the ancient Chinese aesthetics and the traditional regime...
This work aims to address the representation of women's fashion in some representative films of the Chinese cinema. The selection of these films has taken into account three representative genres in Chinese culture. He wants to approach the present work from a perspective of the semiotics of culture and the semiotics of fashion. In Chinese cinema, the representation of women can be divided into several genres depending on the costumes they wear. These wardrobe signs and meanings can be seen as a window into Chinese culture and society. In the movie The Curse of the Golden Flower (Zhang Yimou, 2006), for example, the costumes represent the luxury and the regime of open visibility in the court of the Tang dynasty (618-907). The open attitude towards costumes is an obvious result of the dynamic culture of this era. Other very important genres of female representation in Chinese cinema such as wuxia and yokaithat come from Wuxia literature and ancient Chinese legends. These two genres are very much for the traditional philosophies of China, which constitute a faithful reflection of the ancient Chinese aesthetics and the traditional regime...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 21-01-2021