Salomé en el cine, un Weibermacht a la sombra de Wilde

Abstract

The Salome of Oscar Wilde became one of the fundamental ways of construction and access to a myth with nineteenth-century explanation and connotations and a perpetuated vigor in the cinema. The Salome of Oscar Wilde was an aesthetic vehicle of late Victorian gay emancipation as Ken Rusell knew how to denounce and explain. Access to the subject condition that was apparently achieved with the will to revenge was impaired by the instrumental interest of the author. Nevertheless, women artists saw in that wildeana drift of the myth a capital to resignify that it could be framed in a Weibermacht or genre of Power of Women. This operation of providing Salome with the status of a woman subject endowed with the power to act for her own benefit and that of her gender is paradoxically torpedoed by the vigor of Wilde's own text. But some titles that started from some later text or from the personal contribution of the director have opened up possibilities for that film Weibermacht of Salome. This is the case of Salome where she danced (Charles Lamont, 1945) whose analysis will use the methodology proposed by Sulbarán Piñeiro that combines semiotics and film narrative.