<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2588-0934</journal-id>
<journal-title><![CDATA[Ñawi: arte diseño comunicación]]></journal-title>
<abbrev-journal-title><![CDATA[Ñawi]]></abbrev-journal-title>
<issn>2588-0934</issn>
<publisher>
<publisher-name><![CDATA[Escuela Superior Politécnica del Litoral ]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2588-09342020000100033</article-id>
<article-id pub-id-type="doi">10.37785/nw.v4n1.a2</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Estéticas curvas. Resistencias audiovisuales desde la creación feminista en occidente]]></article-title>
<article-title xml:lang="en"><![CDATA[Aesthetics curves. Audiovisual resistances from feminist creation in occident]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bueno]]></surname>
<given-names><![CDATA[Alejandra]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de las Artes  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Ecuador</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2020</year>
</pub-date>
<volume>4</volume>
<numero>1</numero>
<fpage>33</fpage>
<lpage>45</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S2588-09342020000100033&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S2588-09342020000100033&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S2588-09342020000100033&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN: Este artículo analizará la obra audiovisual de 33 artistas con un total de 35 videos, que se presentaron al Festival Internacional de videoarte feminista Fem Tour Truck, en la edición 2018 y 2016. Las obras aquí analizadas pertenecen a artistas europeas, habiendo realizado ya un primer análisis de obras latinoamericanas. El análisis se centrará en la investigar, a partir de cuatro categorías, si existe una &#8220;estética feminista curva&#8221; dentro de los trabajos audiovisuales feministas. El objetivo de este análisis es plantear una categorización de los filmes para entender que, si el feminismo pertenece a los márgenes, a las minorías, a las que no se sienten representadas por los medios ni por el Estado, debería de existir una estética que pudiera catalogar esa mirada otra, a la que podríamos denominar estética feminista o estética curva. La teoría fílmica feminista surge en la década de 1970 con la segunda ola feminista, inspirada en el lema &#8220;lo personal es político&#8221;, es entonces que la teórica del cine Laura Mulvey escribe el libro Visual Pleasure and Narrative Cinema. Desde estos referentes se traza una línea histórica sobre las estéticas feministas y sus transforma ciones para finalmente concluir en una estética actual, propia de la cuarta ola feminista.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[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 european artists, having already made a first analysis of Latin American works. This analysis focuses on research based on four categories, if there is a feminist 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.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Decolonización]]></kwd>
<kwd lng="es"><![CDATA[lenguaje]]></kwd>
<kwd lng="es"><![CDATA[visual]]></kwd>
<kwd lng="es"><![CDATA[metodología]]></kwd>
<kwd lng="es"><![CDATA[análisis]]></kwd>
<kwd lng="en"><![CDATA[Decolonization]]></kwd>
<kwd lng="en"><![CDATA[language]]></kwd>
<kwd lng="en"><![CDATA[visual]]></kwd>
<kwd lng="en"><![CDATA[methodology]]></kwd>
<kwd lng="en"><![CDATA[analyze.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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