bet188服务中心文化y Recuerdos:“弗里达”传记片重新定义什么是拉美裔

图片来源:盖蒂图片社/苏珊娜冈萨雷斯/新闻人物

当萨尔玛·海耶克生活的传记电影的电影弗里达•卡罗首映20年前,这无疑带来了完成的故事和激进的墨西哥画家许多。•卡罗已经是一位著名的艺术家,但有多少画家家喻户晓?其中,有多少女人?的人,他们中有多少是拉丁妇女?在年的电影《弗里达出来,艺术家已经从一个艺术界明星全球偶像。她的脸和她的整个审美抽象,页面,甚至做成有争议的芭比娃娃。她成为了一个象征,一个可能掩盖了她是谁,为什么她的故事的现实问题。

所有这些使得它值得回顾“弗里达,”折磨的结果萨尔玛·海耶克承受哈维·韦恩斯坦的虐待,但作为一种重要的文化产品,塑造了拉美裔的身份。通信拉丁/拉丁美洲研究的教授伊莎贝尔莫利纳告诉POPSUGAR,好莱坞“希望看到他们的拉丁裔特定方式:不要太暗,不太光,正确的颜色,正确的身体,风格和形状。”For Dr. Molina, "Frida" was able to have it both ways, strategically drawing in crowds with萨尔玛·海耶克的美丽和明星效应,然后提供一个复杂、expectation-defying电影。

莫利纳博士“弗里达”写的不止一次并指出如何帧•卡罗的旅程通过她和一个男人的关系,在这种情况下•卡罗的丈夫,著名的壁画家迭戈里维拉。事实上,看这部电影,哈耶克的美永不消退,无论多厚她的眉毛是如何在痛苦中身体的下部。“弗里达”可能是由一个女人,朱莉·泰莫,但男性的目光仍明显(也许这是Weinstein)的影响。但莫利纳博士也很快指出•卡罗并不是一个性感的影片中,说:“她真的是显示机构对她的身体和性。她是做欲望。”And while sex is certainly an important part of the film — Kahlo's bisexual romances, Rivera's dalliances — it is only one part of a complex tale of a complex woman.

莫利纳博士记得开放周末去看电影。“这主要是拉丁美洲人在电影院里。真的带回家给我,表示是多么重要。因为在那个时候,只有什么都没有。2002年,“乔治洛佩兹显示”,对吧?就是这样。没有专注于女性,”她说。和“弗里达”不只是一个女人的故事,但专注于“一个聪明,聪明、有能力的艺术家谁是出于政治动机。”It was like no mainstream film out at the time. Dr. Molina remembers, "I left the theater thinking, 'Wow, that was really good.'"

在2017年的纽约时报的专栏中,哈耶克写道,“我最大的野心是要告诉她的故事。它成为我的使命描述这个非凡的艺术家的生活和给我的祖国墨西哥刻板印象的方式反抗。”And she did that, but of course, it's never that simple. The combination of Hayek's beauty and the film's focus on Kahlo's personal life had the effect of neutering the artist's politics, according to Dr. Molina. She asserts the film "presents this image of Frida Kahlo, her art, and her politics that's much more safe to consume . . . The movie just made her less political. And in doing that, you make it possible to then use her image to sell pretty much anything."

图片来源:由米拉麦克斯

“她的形象已经商品化,她的艺术已经商品化,”对此表示赞同阿里安娜·戴维斯,记者和作家“弗里达怎么办?指导生活大胆。”她写这本书在某种程度上告诉“背后真正的意义和真正的故事”涵盖了很多t恤的脸。戴维斯的研究艺术家,留下特别深刻的印象是多么超前于她的时代的不幸,这一事实并不发光。这只是电影的局限的一部分。我们看到自己的斗争她母亲的期望,但是由于时间有限,很难知道什么是典型。另外,我们已经习惯了节目“伟大的”结合现代和历史文化和美学,很容易失去联系是正常的,当什么。bet188服务中心

但•卡罗几乎是正常的。戴维斯提醒我们,她的成长在1920年代和1930年代妇女选举权运动刚刚真的在早期阶段。”And yet, here was Kahlo回应记者关于她丈夫的问题这样的报价,”他对一个小男孩很好但我大艺术家。”That was 1933, a time when, according to Davis, "Women are still supposed to be at home supporting their husbands, especially if your husband is like a world-renowned, famous artist. Maybe you're allowed to have a little bit of a hobby on the side, but your main focus is being a homemaker." And indeed the article where that quote first appears bears the headline "Wife of the Master Mural Painter Gleefully Dabbles in Works of Art."

与上下文,戴维斯不禁被这一事实•卡罗是“如此直言不讳和直言不讳自己的梦想,自己的激情。她没有犹豫,私下或公开,只是她自己的啦啦队长,为自己说话,有信心。越多,我看到小实例,我只是研究她,我只是想,“哇,她就真的那么的纯爷们。”

图片来源:由米拉麦克斯

•卡罗传奇——在“弗里达”和它是如何描述我们如何理解它以来,产生了持久的影响。她对美的肯定影响我们的想法。戴维斯提醒我们,作为一个几十个自画像,画自己的“有能力展示自己的形象。如果她想要清理一下自己,如果她想让自己看起来更瘦,或把胡子连心眉,她也可以。但是她没有选择,她描述自己如何。”And she was beautiful and celebrated her own beauty, re-creating her favorite lipstick shade, the ribbons she put in her hair, and her braid pattern on canvas. Kahlo was a woman who cared about her appearance but who painstakingly defined her own image for herself. She also pushed boundaries in other ways. Davis shares, "we're still today, of course, talking about how to normalize conversations around miscarriage and pain and things like that, but she was one of the very early trailblazers," painting her experiences around those issues with vivid emotional clarity.

”她把想法和感受和情绪的一种方式在画布上的,”戴维斯说,“我已经盯着她所有的画,就像她的工作,我有时仍然会被风吹走[的]的情绪,她能够唤起从画笔。她只是无畏,画布就翻译那些情感的能力。”And it is that fearlessness that endures in Kahlo's art and in Hayek's film bearing her name. "Even if you don't know anything about Frida, you know there was a historic woman who lived her life very boldly and outside of the box," Davis says. "Frida" the film opened the lid on that legend, however imperfectly, inviting us to break the rules, find our own definitions of beauty, and rely on our own voices. It's a legacy to be proud of.