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Advisor(s)
Abstract(s)
Tras la caída de la dinastía Qing (1911), Shanghái se transformó en un hervidero
cultural, por la diversidad de fuerzas contenidas en sus fronteras y por su dinamismo
globalizador. Convertida en escaparate para presentar nuevas tendencias, costumbres y
productos, lideró el camino de desarrollo de la industria editorial, del cine, la prensa y la
literatura. De entre todas sus manifestaciones culturales, rescatamos los icónicos
calendarios de publicidad que inundaron el paisaje urbano entre las décadas de 1910 y
1930, promocionando la visión de una de las figuras protagonistas de este período: La
“Nueva Mujer”.
Concentrándonos en la representación de la mujer en estas imágenes comerciales, su
apariencia, poses, estilos de vida, analizaremos el modo como lo femenino se convirtió en
símbolo y agente de una modernidad con tintes particulares, en los que se mezclaba
progreso y tradición. Examinaremos cómo el sello “Nueva Mujer” fue ritualizado,
mercantilizado y utilizado como herramienta codificadora de identidades movedizas y
ambiguas. A modo de poderosa articulación del deseo de reconfiguración, de
florecimiento, de diferenciar y diferenciarse, la figura femenina encarnó un espacio social
comprometido con la adaptación y domesticación de valores extranjeros aclimatados a lo
específico del contexto chino, canalizando y articulando ansiedades colectivas y deseos
privados. Integradas en la cotidianeidad de la urbe, las imágenes de esta “Nueva Mujer” y
de todas las categorías que de ella se derivaron facilitaron la difusión de ideales, aireando
un formato de identidad de género resonante y craquelado en el que el perfil de mujer se
conformaba simultáneamente como sujeto y objeto, como propiedad y propietario, en
constante interacción reflexiva entre consumidor y consumido.
El presente estudio tiene por objetivo aplicar modelos analíticos de semiótica y cultura
visual para descifrar la representación de lo femenino y su significado social. Tratará de
delimitar las fuerzas culturales, sociales y políticas integradas en la producción de esta
tipología de diseño comercial, aportando nueva luz sobre su análisis visual y enriqueciendo
el área de estudio sobre publicidad y arte gráfico en China. El análisis de estas figuras nos
ayudará a entender el “milagro”, rumbo y experimentación de la Modernidad en Shanghái, en la cual rasgos aparentemente modernos acabaron mezclados con elementos de la
tradición china originando un estilo único e irrepetible.
Shanghai's story was a unique experience of Chinese Modernity, staging multiple dialogues between things modern and traditional. After the fall of the Qing Dynasty (1911), China and the West concurred in Shanghai to create a modern economy, a liberal society, a vibrant culture, which ended by redefining Chinese femininity and masculinity. Because of its ideal geographical location, the city served as a window for the coming of western ideas, commodities and mores. Shanghai also showed its leading role in the development of mass media and different cultural products. Among these, calendar posters were one of the most popular and widespread artifacts, and were regarded as an icon of the popular art of Shanghai from the 1910s to the 1930s. Calendar posters saturated the city with an intriguing ‘cosmopolitan look’ embodied through a new character: the “New Woman”, representing the urban life style and the taste of the age. By depicting the women's appearance, physical posture, life style and aesthetics in a seemingly "modern" and "liberated" style, they were regarded as a symbol of Shanghai's Modernity. Female body constituted a sight for visual consumption and a site for articulating public anxiety and private fantasy, reformulating the traditional male gaze and reconfiguring desire, pleasure, identity and gender. Idealized women broke into the public sphere apparently spreading a critique of the past, and a clear commitment to change values towards the future. They integrated themself in a mundane ambience, which allowed them to see and to be seen, to exhibit a body as being there and as an ideal to follow, creating a resonant format of gender where she was portrayed simultaneously as subject and object, owner and owned, in an endless reflexive interplay of consumer and consumed. The present study intends to appropriate the analytical models of pictorial semiotics and visual culture in order to decipher the female images and social status represented in print advertisements. It will also try to depict the cultural, social and political power struggles embedded in the commercial design, so as to shed new light on the textual analysis and cultural studies, and to enrich the scholarship of advertising and graphic art in Asia. Furthermore, analyzing them will help us to understand the miracle of Shanghai's Modernity, its path and experience in which the seemingly modern features were also heavily blended with elements from Chinese tradition.
Shanghai's story was a unique experience of Chinese Modernity, staging multiple dialogues between things modern and traditional. After the fall of the Qing Dynasty (1911), China and the West concurred in Shanghai to create a modern economy, a liberal society, a vibrant culture, which ended by redefining Chinese femininity and masculinity. Because of its ideal geographical location, the city served as a window for the coming of western ideas, commodities and mores. Shanghai also showed its leading role in the development of mass media and different cultural products. Among these, calendar posters were one of the most popular and widespread artifacts, and were regarded as an icon of the popular art of Shanghai from the 1910s to the 1930s. Calendar posters saturated the city with an intriguing ‘cosmopolitan look’ embodied through a new character: the “New Woman”, representing the urban life style and the taste of the age. By depicting the women's appearance, physical posture, life style and aesthetics in a seemingly "modern" and "liberated" style, they were regarded as a symbol of Shanghai's Modernity. Female body constituted a sight for visual consumption and a site for articulating public anxiety and private fantasy, reformulating the traditional male gaze and reconfiguring desire, pleasure, identity and gender. Idealized women broke into the public sphere apparently spreading a critique of the past, and a clear commitment to change values towards the future. They integrated themself in a mundane ambience, which allowed them to see and to be seen, to exhibit a body as being there and as an ideal to follow, creating a resonant format of gender where she was portrayed simultaneously as subject and object, owner and owned, in an endless reflexive interplay of consumer and consumed. The present study intends to appropriate the analytical models of pictorial semiotics and visual culture in order to decipher the female images and social status represented in print advertisements. It will also try to depict the cultural, social and political power struggles embedded in the commercial design, so as to shed new light on the textual analysis and cultural studies, and to enrich the scholarship of advertising and graphic art in Asia. Furthermore, analyzing them will help us to understand the miracle of Shanghai's Modernity, its path and experience in which the seemingly modern features were also heavily blended with elements from Chinese tradition.