VISUAL REVIEW. International Visual Culture Review https://journals.eagora.org/revVISUAL <p><em>VISUAL REVIEW. International Visual Culture Review </em>asks questions about the nature of the image and about the imaging functions. This interdisciplinary and transdisciplinary magazine brings together the perspectives of researchers, theorists, professionals and teachers from different fields, such as architecture, art, cognitive science, telecommunications, computing, cultural studies, design, education , film studies, history, linguistics, management, marketing, commercialization and distribution, the media, museography, philosophy, semiotics, photography, psychology, religious studies, etc.</p> <p><em>VISUAL REVIEW. International Visual Culture Review </em>is peer-reviewed. It has qualitative content review processes that guarantee the publication of works of the highest scientific quality. The arbitration system uses external evaluators to this editorial. Only original texts written in Spanish, Portuguese or English are accepted for publication.</p> <p>Editorial decisions are not affected by the origin of the manuscript, including the authors' nationality, ethnicity, political beliefs, race or religion. Decisions to edit or publish are not determined by government or other agency policies, that is, by policies other than those of the magazine itself.</p> Global Knowledge Academics en-US VISUAL REVIEW. International Visual Culture Review 2695-9631 Makeup Trends on Television Newcasts in the U.S. during the 20th Century https://journals.eagora.org/revVISUAL/article/view/2694 <p>This study is an exploration of the shift from standard definition (SDTV) to high-definition (HDTV)&nbsp;on television newscasts in the United States. This paper examines how this major historic shift affected the thinking, behavior, and trends of female newscasters when using makeup to see what themes arose. Despite the ubiquity of female newscasters, academic research into the influence of HD broadcasting and makeup appearance is limited. Due to this lack of information, the present study provides a cultural approach to examining historical information about this switch. News West 9 broadcasted in Midland-Odessa and interviews to a female newscaster, a news director, and a makeup artist who experienced this shift are utilized to address the historical issues facing high-definition broadcasting during this time.</p> Paola Andrea Albarran Copyright (c) 2020-10-05 2020-10-05 7 2 85 94 10.37467/gka-revvisual.v7.2694 Albrecht Dürer And The 16th Century Melancholy https://journals.eagora.org/revVISUAL/article/view/2695 <p>Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.</p> Marcel Henrique Rodrigues Copyright (c) 2020-10-05 2020-10-05 7 2 95 108 10.37467/gka-revvisual.v7.2695 “Strollology”: Walking as a Science for Understanding and Transforming the World https://journals.eagora.org/revVISUAL/article/view/2484 <p>Along with Maderuelo, Nogué, Augé, de Certeau and Burckhardt, we will show how landscape is the result of a cultural construction and that it is an abstract concept. The growing process of abstraction of space corresponds to the gradual transformation of places into non-places. Faced with this situation, the need to reactivate an active and direct relationship with space once again arises. Walking, the most elemental "practice of space", is a powerful tool to link us again to the place we inhabit. Lucius Burckhardt, inventor of the "Strollology", teaches us how walking makes us regain our innate ability to create meanings.</p> Laura Apolonio Copyright (c) 2020-10-06 2020-10-06 7 2 109 116 10.37467/gka-revvisual.v7.2484 The Use of Optical Illusions as Creative Solutions Applied in Cinema and Videogames https://journals.eagora.org/revVISUAL/article/view/2482 <p class="p1">Optical illusions are visual resources that the artist has used since the origins of art to get the attention of the viewer and share the deception of his work. These effects, in the XXI century, where the consumption of images is voracious, not only continue to have the ability to amaze, but they have adapted to other visual arts such as film and video games. Art and Technology go hand in hand thanks to optical illusions, these becoming highly strategic tools for teaching both disciplines. This study analyzes its use, both in commercial films and in video games, showing how suggestive and necessary they are in teaching to train the artists of tomorrow.</p> Carmen Pérez González María de Iracheta Martín Copyright (c) 2020-10-22 2020-10-22 7 2 117 130 10.37467/gka-revvisual.v7.2482 The Image in Discussion https://journals.eagora.org/revVISUAL/article/view/2167 <p class="p1">We analyze the value of the scopic drive in the ambivalent action of seeing: extromission and intromission. Emphasizing that the implicit screen of our images is revealed by our vision in the confrontation with the real, as modern historiography teaches from its theories and devices of seeing and representation, verifying that confrontation by the triumph of trompe l'oeil and the simulation. The complexity of the technical productive story of the images reflects the artificiality arguing both objectivity and effusion of image, scientific connivance as a phantom, from anamorphism to mechanical devices as significant historical turns.</p> José Javier Díez Álvarez Copyright (c) 2020-10-22 2020-10-22 7 2 131 147 10.37467/gka-revvisual.v7.2167 Design as a Significant Component in Public Policy Observatories in Colombia https://journals.eagora.org/revVISUAL/article/view/2161 <p class="p1">This article addresses the concept of design as an interdisciplinary element that seeks to recognize itself as a vehicle for raising awareness of the processes of socialization in observatories that aim to generate an impact in a specific community. The design seen as knowledge must from its formalization be remembered as a tool available to people who, in its manifestation (reification / function) goes into the background to be recognized as a cognitive act that leads to significant instances. Therefore, the following premise is planned: How does the design contribute to the construction of awareness in the processes of socialization of the observatory in public policy of fiscal control?</p> Sebastián López Ospina Copyright (c) 2020-11-05 2020-11-05 7 2 149 158 10.37467/gka-revvisual.v7.2161 Creativity, Thought and Feminist Artivism in Chile: Now is when! https://journals.eagora.org/revVISUAL/article/view/2480 <p>The actions made by feminist colectives and groups in Chile has reconfigured the ways of conceiving action art and generates collective catharsis. “Acuerpar” the public space, renaming Metro de Santiago stations and streets to make women visible, show historical omission but also epistemic violence. Based on feminist epistemologies, this article analizes how creativity and feminisms through performativity expressed by different groups and artists (Yeguada Latinoamericana y LasTesis, among others), power structures can be destabilized and deconstruct the history(s).</p> Marla Freire Smith Copyright (c) 2020-11-09 2020-11-09 7 2 159 172 10.37467/gka-revvisual.v7.2480 The Cigarette Marquillas: Graphic Expressions of the Cuban National Identity Formation https://journals.eagora.org/revVISUAL/article/view/2490 <p class="p1">The application of lithographic technique during the 19th century in Cuba sparked a large volume of artistic chromolithographies, produced mainly for tobacco commercialization. The first printed in various colors were the «luxury packs» for cigarettes, today known as «cigarette marquillas». In the 1860s, La Honradez factory revolutionized the international cigarette industry through new technologies and commercial strategies, including the use of marquillas. With this, La Honradez set a precedent in cigarette advertising, since the wrappers not only had collectible value, but his picturesque drawings represented Cuban society at the time.</p> Yadira Calzadilla Riveira Copyright (c) 2020-12-02 2020-12-02 7 2 173 184 10.37467/gka-revvisual.v7.2490 Visual Merchandising and Commercial Interior Design in Family Boutiques https://journals.eagora.org/revVISUAL/article/view/2463 <p class="p1">The purpose of this study was to analyze the presence of visual merchandising within commercial interior design in family boutiques. The customer's shopping experience and their perception regarding the means of action used. The Colombian GEF store was taken as a reference point, from which evaluation standard were established in a specific case the Ecuadorian boutique with details and colors. The applied descriptive research allowed to obtain as a result a brand and management diagnosis, and to propose a conceptual model to be used in type premises. The planned merchandising - environment link creates loyalty and profitability.</p> María Alexandra López Chiriboga ´Angel Xavier Solórzano Costales Valeria Alexandra Correa Copyright (c) 2020-12-02 2020-12-02 7 2 185 198 10.37467/gka-revvisual.v7.2463 Art, Myth and Memory https://journals.eagora.org/revVISUAL/article/view/2647 <p>This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?</p> Alessandra Campoli Copyright (c) 2020-12-23 2020-12-23 7 2 199 206 10.37467/gka-revvisual.v7.2647