{"id":19332,"date":"2023-02-06T21:55:47","date_gmt":"2023-02-06T20:55:47","guid":{"rendered":"https:\/\/observatoiredesimages.org\/focus-16-linvisibilite-le-super-pouvoir-des-femmes\/"},"modified":"2024-07-08T12:28:12","modified_gmt":"2024-07-08T10:28:12","slug":"focus-16-invisibility-the-superpower-of-women-over-50-on-screen","status":"publish","type":"post","link":"https:\/\/observatoiredesimages.org\/en\/focus-16-invisibility-the-superpower-of-women-over-50-on-screen\/","title":{"rendered":"FOCUS #16 &#8211; Invisibility, the superpower of women over 50 on screen"},"content":{"rendered":"<div id='av_section_1'  class='avia-section av-ldsvq760-8507a5175be0d033528789d8facfd3b4 main_color avia-section-default avia-no-border-styling  avia-builder-el-0  avia-builder-el-no-sibling  focus-ensemble avia-bg-style-scroll av-minimum-height av-minimum-height-100 av-height-100  container_wrap fullsize'   data-av_minimum_height_pc='100' data-av_min_height_opt='100'><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-19332'><div class='entry-content-wrapper clearfix'>\n<section  class='av_textblock_section av-ldt97fep-6aa5f901f0dc0e066590af5bcf55968a '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock retour-focus'  itemprop=\"text\" ><p><a href=\"\/nos-focus\/\">&lt; Retour Focus<\/a><\/p>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvxm3d-3fbe997fce42efbd5e336cfce6cb887d\">\n#top .flex_column.av-ldsvxm3d-3fbe997fce42efbd5e336cfce6cb887d{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.flex_column.av-ldsvxm3d-3fbe997fce42efbd5e336cfce6cb887d{\nbackground-color:#9dd5b2;\n}\n.responsive #top #wrap_all .flex_column.av-ldsvxm3d-3fbe997fce42efbd5e336cfce6cb887d{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-ldsvxm3d-3fbe997fce42efbd5e336cfce6cb887d av_one_full  avia-builder-el-2  el_after_av_textblock  el_before_av_one_full  numero-ensemble first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvq00q-3ca38803b98c07964cc4fb3de3656fe7\">\n#top .av_textblock_section.av-ldsvq00q-3ca38803b98c07964cc4fb3de3656fe7 .avia_textblock{\nfont-size:20px;\ncolor:#000f0f;\ntext-align:right;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsvq00q-3ca38803b98c07964cc4fb3de3656fe7 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock numero av_inherit_color'  itemprop=\"text\" ><p style=\"text-align: right;\">FOCUS<br \/>\n#16<\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-85qqu-f564cbbda3d45f5cc990553d6000d30a\">\n.flex_column.av-85qqu-f564cbbda3d45f5cc990553d6000d30a{\nborder-width:4px;\nborder-color:#9dd5b2;\nborder-style:solid;\n}\n<\/style>\n<div  class='flex_column av-85qqu-f564cbbda3d45f5cc990553d6000d30a av_one_full  avia-builder-el-4  el_after_av_one_full  avia-builder-el-last  contenu first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7\">\n#top .av-special-heading.av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7{\npadding-bottom:10px;\ncolor:#239eed;\n}\nbody .av-special-heading.av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7 .special-heading-inner-border{\nborder-color:#239eed;\n}\n.av-special-heading.av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-ldsv3l8z-47035d991ffa1d8458c80f5b4f46f6d7 av-special-heading-h1 custom-color-heading blockquote modern-quote modern-centered  avia-builder-el-5  el_before_av_textblock  avia-builder-el-first '><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >Invisibility, the superpower of women over 50 on screen<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad\">\n#top .av_textblock_section.av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad .avia_textblock{\ncolor:#000000;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsv5zyh-4afbcb8f23c229a3653e439597c564ad '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock chapeau av_inherit_color'  itemprop=\"text\" ><p class=\"cvGsUA direction-ltr align-justify para-style-body\"><strong><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In association with AAFA &#8211; \u201cTunnel de la com\u00e9dienne de plus de 50 ans\u201d, a commission of AAFA &#8211; Actrices &amp; Acteurs de France Associ\u00e9s. This committee fights sexist stereotypes linked to women&#8217;s age, produced in film. Its aim: to question this phenomenon of invisibility, to name the problem, to break stigmas, and to rectify the representations of women over 50 in the media.<\/span><\/strong><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><strong><span class=\"OYPEnA text-decoration-underline text-strikethrough-none\">Overview <\/span><\/strong><span class=\"OYPEnA text-strikethrough-none text-decoration-none\"><strong>:<\/strong> While 52% of adult women are over 50, only 9% of roles in French films released in 2020 went to actresses over 50. Women over 50, despite being in the majority demographically, are invisible in cinema and television. What&#8217;s more, when they do appear on screen, they are the target of a large number of stereotypes. Within the film and audiovisual industry, under the impetus of AAFA &#8211; \u201cTunnel de la com\u00e9dienne de 50 ans\u201d, professionals are beginning to take action. Film has a role to play in combating sexism and ageism.<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsy3oaj-284977359be355e9a0405ab45da8558f\">\n#top .av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock{\ncolumn-count:2;\ncolumn-gap:5%;\n}\n\n@media only screen and (max-width: 989px){ \n#top .av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock{\ncolumn-count:1;\n}\n.av_textblock_section.av-ldsy3oaj-284977359be355e9a0405ab45da8558f .avia_textblock.av_multi_colums > p:first-child{\nmargin-top:0.85em;\n}\n}\n<\/style>\n<section  class='av_textblock_section av-ldsy3oaj-284977359be355e9a0405ab45da8558f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock av_multi_colums'  itemprop=\"text\" ><p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In France, 52% of adult women are over 50, i.e. 28% of the total adult population. Yet in 2020, only 9% of all roles in French films went to actresses over 50. Women over a certain age are therefore invisible on screen.<\/span><\/p>\n<h2 class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Women on screen, women don\u2019t age&#8230; they disappear !<\/span><\/h2>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Journalist Betty Friedan describes the system as twofold: on one hand, what amounts to an &#8220;obsession&#8221; with old age, often portrayed as a problem, and on the other, a &#8220;curious absence&#8221; of media images of ageing women.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">As is often the case, however, women and men are not treated equally. The American essayist Susan Sontag has shown that women are considered &#8220;old&#8221; earlier than men, in a construct that\u2019s more in favor of male ageing. What&#8217;s more, when they do appear on screen, they are often associated with negative representations. Cinema, television and advertising all reproduce the image of saintly, asexual mothers.<\/span><\/p>\n<p><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In the series &#8220;Never Have I Ever&#8221; (2020-present), while the schoolgirl Devi, her cousin, and her mother all have love affairs, the grandmother (and widow) Nirvala devotes herself as a homemaker. She never meets anyone again, romantically. A horrifying or demonised view of older women is conveyed in &#8220;Abuela&#8221; (2021), portraying an elderly woman, who has suffered a cerebral haemorrhage, and whose decaying body is shown in contrast to her photos when she was young and beautiful. Finally, in &#8220;Hereditary&#8221; (2018), the grandmother practises witchcraft and causes violent trauma on her children.<\/span><\/p>\n<div style=\"width: 291px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"size-full wp-image-1106\" title=\"\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/10-e1676631384404.png\" alt=\"\" width=\"281\" height=\"210\"><p class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Devi and her grandmother in<\/span><br \/><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8220;Never have I ever&#8221; (2020-currently)<\/span><\/p><\/div>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"size-full wp-image-1108 aligncenter\" title=\"11\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/11-e1676631478890.png\" alt=\"11\" width=\"297\" height=\"135\" \/><\/p>\n<div id=\"attachment_1108\" style=\"width: 307px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1108\" class=\"size-full wp-image-1108\" title=\"11\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/11-e1676631478890.png\" alt=\"11\" width=\"297\" height=\"135\" \/><p id=\"caption-attachment-1108\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The place of women and men aged over 50<\/span><br \/><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">in French society and in cinema in 2020.<\/span><br \/><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Infographics produced by AAFA &#8211; \u201cTunnel de la com\u00e9dienne de plus de 50 ans\u201c<\/span><\/p><\/div>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The weight of images and standards of femininity weighing on older women<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">These representations are intrinsically linked to the values conveyed by what Swiss journalist and essayist Mona Chollet calls the &#8220;fashion-beauty complex&#8221;. While the industry largely spares unfair standards on men, it forces women to look like models of beauty &#8211; with no trace of age. Representations in the media, films and advertising help to shape our conceptions of women&#8217;s bodies, excluding all those whose bodies no longer correspond to the dominant cultural criteria on \u201cfeminine beauty\u201d. According to Genevi\u00e8ve Sellier, historian and specialist in gender in cinema, films actively contribute to the stigmatisation of ageing actresses, who are too often under-represented. All in all, the images on our screens play a large part in reproducing the sexist and ageist discrimination at play in society.<\/span><\/p>\n<div id=\"attachment_1112\" style=\"width: 307px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1112\" class=\"size-full wp-image-1112\" title=\"13\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/13-e1676631593544.png\" alt=\"13\" width=\"297\" height=\"200\" \/><p id=\"caption-attachment-1112\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Abuela (2021)<\/span><\/p><\/div>\n<h2 class=\"_04xlpA direction-ltr align-start para-style-body\" style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Turning the tables through film<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The AAFA &#8211; Actrices &amp; Acteurs de France Associ\u00e9s, the AAFA &#8211; \u201cTunnel de la Com\u00e9dienne de 50 ans commission\u201d was created in December 2015. This committee questions the lack of representation of women over 50, calling out the problems with these portrayals, breaking stigmas. Its members fight for visibility as well as combating against sexist stereotypes linked to women&#8217;s age &#8211; continuously being perpetrated in the media. Questioning the portrayal of women over 50 in fiction also means questioning the power dynamics between men and women in film. After<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">menopause, women who can no longer procreate are of little interest to mainstream stories. Their confidence,<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">psychological, emotional and professional maturity don\u2019t interest those controlling the stories being told in the media. To combat these inequalities in representation, the commission, co-directed by Marina Tom\u00e9 and Catherine Piffaretti, have set up initiatives to raise awareness of the issue. It regularly publishes the Counting the Roles in French Films, an insight into<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">ageism and sexism on screen. They work with sociology researchers to reflect on ageist and sexist discrimination, its causes, and the social challenge it represents. They propose concrete actions that still respect creative freedoms via the AAFA &#8211; Tunnel des 50 manifesto, which now has more than 15,000 signatures. It has even obtained the attention of studies conducted at<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">institutions such as the CNC and Adami.<\/span><\/p>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Tunnel de la com\u00e9dienne de plus de 50 ans: A movement against the invisibilisation of older women on screen<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The AAFA &#8211; Actrices &amp; Acteurs de France Associ\u00e9s, the AAFA &#8211; \u201cTunnel de la Com\u00e9dienne de 50 ans commission\u201d was created in December 2015. This committee questions the lack of representation of women over 50, calling out the problems with these portrayals, breaking stigmas. Its members fight for visibility as well as combating against sexist stereotypes linked to women&#8217;s age &#8211; continuously being perpetrated in the media. Questioning the portrayal of women over 50 in fiction also means questioning the power dynamics between men and women in film. After<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">menopause, women who can no longer procreate are of little interest to mainstream stories. Their confidence,<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">psychological, emotional and professional maturity don\u2019t interest those controlling the stories being told in the media. To combat these inequalities in representation, the commission, co-directed by Marina Tom\u00e9 and Catherine Piffaretti, have set up initiatives to raise awareness of the issue. It regularly publishes the Counting the Roles in French Films, an insight into<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">ageism and sexism on screen. They work with sociology researchers to reflect on ageist and sexist discrimination, its causes, and the social challenge it represents. They propose concrete actions that still respect creative freedoms via the AAFA &#8211; Tunnel des 50 manifesto, which now has more than 15,000 signatures. It has even obtained the attention of studies conducted at<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">institutions such as the CNC and Adami.<\/span><\/p>\n<h2><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Turning the tables through film<\/span><\/h2>\n<p><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">As part of her sociology research at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, Julie Silveira shows that there are a few films that portray atypical female figures who are rarely seen in<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">cinema. In Rainer Werner Fassbinder&#8217;s &#8220;Tous les autres s&#8217;appellent Ali&#8221; (1974), an elderly German worker marries a younger Moroccan man. John Cassavetes&#8217; &#8220;Opening Night&#8221; (1977) tells the story of how an ageing actress overcomes the fear of getting older, imposed on her by society, by successfully playing the role of a woman who has lost her youth.<\/span><\/p>\n<div id=\"attachment_1114\" style=\"width: 177px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1114\" class=\"size-full wp-image-1114\" title=\"14\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/14-e1676631724308.png\" alt=\"14\" width=\"167\" height=\"210\" \/><p id=\"caption-attachment-1114\" class=\"wp-caption-text\">Emi and Ali in<br \/>&#8220;Tous les autres s&#8217;appellent Ali&#8221; (1974)<\/p><\/div>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In &#8220;Trente tableaux&#8221; (2011), Paule Baillargeon looks back at the defining scenes in her life as a filmmaker, mother, feminist and artist.<\/span><\/p>\n<div id=\"attachment_1116\" style=\"width: 307px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1116\" class=\"size-full wp-image-1116\" title=\"15\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/15-e1676631794322.png\" alt=\"15\" width=\"297\" height=\"198\" \/><p id=\"caption-attachment-1116\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Grace and Franky (2015-currently)<\/span><\/p><\/div>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">More recently, in &#8220;Les Jeunes Amants&#8221;, Fanny Ardant plays a 72-year-old woman who is having a love affair with Melvil Poupaud, a much younger man. This is a rare occurrence in cinema, since the majority of heterosexual couples who appear on screen, and without considerable age gaps, are consistently made up of men of a certain age and women whose age is stagnant. Aure\u0301lie Saada&#8217;s film &#8220;Rose&#8221; (2021), starring Franc\u0327oise Fabian, highlights the injustices associated with older women&#8217;s bodies and lives in media. Another example is the series &#8220;Grace and Frankie&#8221; (2015 &#8211; present), starring Jane Fonda and Lily Tomlin, which explicitly shows the realities associated with the a lack of representation, featuring two heroines in their seventies&#8230; completely flipping the script on gender and age stereotypes!<\/span><\/p>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-ldsxuh8c-7e0145d7f931353dbc248361984dcf5d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock pied-de-page'  itemprop=\"text\" ><p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"><strong>The Observatoire des images<\/strong>, created in 2021, is the first associative body to bring together all those interested in the role of images in cinema, television, video games and advertising, particularly on the Internet.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The coalition&#8217;s objectives include: raising awareness among public authorities, professionals and the general public; developing research into the reception of images and highlighting existing work; pooling and supporting professional practices; promoting projects and teams committed to combating stereotypes.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Join us : observatoiredesimages.org<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-76qpq-abb2a81d44e8f55023a6beca1a704ac4\">\n#top .hr.hr-invisible.av-76qpq-abb2a81d44e8f55023a6beca1a704ac4{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-76qpq-abb2a81d44e8f55023a6beca1a704ac4 hr-invisible  avia-builder-el-9  el_after_av_textblock  el_before_av_button '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><br \/>\n<div  class='avia-button-wrap av-ldt1wov9-04103039be1abde49fe283ed261525e5-wrap avia-button-center  avia-builder-el-10  el_after_av_hr  avia-builder-el-last '><a href='https:\/\/observatoiredesimages.org\/focus\/16\/?tmstv=1678807867'  class='avia-button av-ldt1wov9-04103039be1abde49fe283ed261525e5 av-link-btn avia-icon_select-no avia-size-small avia-position-center avia-color-theme-color'   aria-label=\"Download the Focus (PDF)\"><span class='avia_iconbox_title' >Download the Focus (PDF)<\/span><\/a><\/div><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":991,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,2],"tags":[],"class_list":["post-19332","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-focus","category-focus-en"],"_links":{"self":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19332","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/comments?post=19332"}],"version-history":[{"count":5,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19332\/revisions"}],"predecessor-version":[{"id":19334,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19332\/revisions\/19334"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media\/991"}],"wp:attachment":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media?parent=19332"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/categories?post=19332"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/tags?post=19332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}