Aesthetics curves: audiovisual resistances from feminist creation in occident. DOI:10.37785/nw.v4n1.a2

Abstract

This article analyzes the audiovisual work of 33 artists with a total of 35 videos, which were presented to the International Feminist Video Art Festival, Fem Tour Truck, in the 2018 and 2016 edition. The works analyzed here belong to occident artists, having already made a first analysis of Latin American works. This analysis focuses on research based on four categories, if there is a curved aesthetic within feminist audiovisual works. The objective of this analysis is to propose a categorization of the films, in order to investigate that, if feminism belongs to the margins, to minorities, to those who do not feel represented by the media, nor by the State, there should be an aesthetic that could catalog that look, which we could call feminist aesthetics or curved aesthetics. Feminist film theory emerged in the 1970s with the second wave of feminism, inspired by the slogan "the personal is political", that's when film theorist Laura Mulvey writes the book Visual Pleasure and Narrative Cinema. From these referents, a historical line is drawn on the feminist aesthetics and its transformations to finally conclude in a current aesthetic, typical of the fourth feminist wave.