The black female body: Representation of the erotic in contemporary visual art in Africa

E-rea ◽  
2021 ◽  
Author(s):  
Tayler FRIAR
Keyword(s):  
Visual Art ◽  
Female Body ◽  
Body Representation ◽  
Black Female ◽  
The Erotic

scholarly journals Rosana Paulino and the Art of Refazimento: Reconfigurations of the Black Female Body in the Land of Racial Democracy

2019 ◽  
Vol 8 (1-2) ◽  
pp. 63-90
Author(s):  
Flavia Santos de Araújo
Keyword(s):  
Black Women ◽  
Visual Art ◽  
Female Body ◽  
Black Female ◽  
Historical Narrative ◽  
Digital Printing ◽  
Historical Interpretation ◽  
Racial Democracy ◽  
Historical Archives ◽  
Visual Artist

This essay analyzes the historical and aesthetic significance of the visual art project Assentamento(s) (2012-2013) by Rosana Paulino. Her work re- inscribes the black female body into the historical narrative of Brazil, complicating long-established notions of “Brazilianness”. By using art techniques and materials that combine lithography, digital printing, drawing, sewing, video, and sculpting, Paulino develops a multi-layered artistic assembly that she describes as a process of refazimento (“remaking”). Paulino pushes the boundaries of the historical archives, highlighting both the struggles and agency of black women within Brazilian society. I argue that, as a contemporary black woman visual artist, Paulino engages in a method of historical interpretation that Saidiya Hartman defines as “critical fabulation”. My study explores how Paulino’s refazimento represents a method of inquiry that confronts the legacies of Brazil’s racial democracy and its ideology of mestiçagem. Paulino’s visuality reclaims Afro-Brazilian ancestral memory and black female complex subjectivities.

Something To Do With Women, Something To Do With Death

2020 ◽  
pp. 19-28
Author(s):  
Roberto Curti ◽  
Roberto Curti
Keyword(s):  
Female Body ◽  
Radical Change ◽  
The Erotic

This chapter highlights diverse influences that resulted in the film Blood and Black Lace (6 donne per l'assassino). It explains how Mario Bava and his co-scriptwriters expunged all traces of humour from the story, eliminating the annoying comic interludes that plagued the film La ragazza che sapeva troppo. It also investigates how the makers of Blood and Black Lace drew from other sources and enhanced the Gothic mood that characterised the Edgar Wallace Krimis cycle. The chapter describes the ways in which violence in films is directed towards the female body, such as the opening sequence of the film La maschera del demonio where the character Asa is tortured with the titular spiked mask and burned at the stake. It discusses how horror underlined a radical change in the erotic imagery of the average Italian.

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