{"id":19356,"date":"2023-02-06T21:50:41","date_gmt":"2023-02-06T20:50:41","guid":{"rendered":"https:\/\/observatoiredesimages.org\/focus-9-de-1950-a-aujourdhui\/"},"modified":"2024-07-15T17:56:49","modified_gmt":"2024-07-15T15:56:49","slug":"focus-9-from-1950-to-today-new-genres-of-cartoons","status":"publish","type":"post","link":"https:\/\/observatoiredesimages.org\/en\/focus-9-from-1950-to-today-new-genres-of-cartoons\/","title":{"rendered":"FOCUS #9 &#8211; From 1950 to today, new genres of cartoons?"},"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-19356'><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\" ><a href=\"https:\/\/observatoiredesimages.org\/nos-focus\/\">< Retour Focus<\/a>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvxm3d-84e9c427f6f34f4c9fb69f890fc5847b\">\n#top .flex_column.av-ldsvxm3d-84e9c427f6f34f4c9fb69f890fc5847b{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.flex_column.av-ldsvxm3d-84e9c427f6f34f4c9fb69f890fc5847b{\nbackground-color:#f5b7c3;\n}\n.responsive #top #wrap_all .flex_column.av-ldsvxm3d-84e9c427f6f34f4c9fb69f890fc5847b{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-ldsvxm3d-84e9c427f6f34f4c9fb69f890fc5847b 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-08b0f6c6e217f5a49f65ef7f2bd2e830\">\n#top .av_textblock_section.av-ldsvq00q-08b0f6c6e217f5a49f65ef7f2bd2e830 .avia_textblock{\nfont-size:20px;\ncolor:#160016;\ntext-align:right;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsvq00q-08b0f6c6e217f5a49f65ef7f2bd2e830 '   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#09<\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-85qqu-12002f76f7c8606e159ba1f61ce08629\">\n.flex_column.av-85qqu-12002f76f7c8606e159ba1f61ce08629{\nborder-width:4px;\nborder-color:#f5b7c3;\nborder-style:solid;\n}\n<\/style>\n<div  class='flex_column av-85qqu-12002f76f7c8606e159ba1f61ce08629 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-f366b6fa8157d67a5f706d42ed2632d8\">\n#top .av-special-heading.av-ldsv3l8z-f366b6fa8157d67a5f706d42ed2632d8{\npadding-bottom:10px;\ncolor:#b17f49;\n}\nbody .av-special-heading.av-ldsv3l8z-f366b6fa8157d67a5f706d42ed2632d8 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-ldsv3l8z-f366b6fa8157d67a5f706d42ed2632d8 .special-heading-inner-border{\nborder-color:#b17f49;\n}\n.av-special-heading.av-ldsv3l8z-f366b6fa8157d67a5f706d42ed2632d8 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-ldsv3l8z-f366b6fa8157d67a5f706d42ed2632d8 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\"  >From 1950 to today, new genres of cartoons?<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-ldsv5zyh-dd4dbdb99a956efe82296e5975e25914 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock chapeau'  itemprop=\"text\" ><p class=\"cvGsUA direction-ltr align-justify para-style-body\"><strong><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">By M\u00e9lanie Lallet, media sociologist, author of &#8220;Lib\u00e9r\u00e9es, d\u00e9livr\u00e9es? Rapports de pouvoir anim\u00e9s&#8221; (INA, 2014), lecturer at UCO Nantes, member of the Ar\u00e8nes laboratory and head of research at the Centre Humanit\u00e9s et Soci\u00e9t\u00e9s, associated with the Institut de recherche m\u00e9dias, cultures, communication et num\u00e9rique (Irm\u00e9ccen).<\/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\">An analysis of gender representations in French animated programs from the 1950s to the present day does not show a linear progression towards equality, even though some of these programs have made more room for female characters and stories that defy stereotypes.<\/span><\/p>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce\">\n#top .av_textblock_section.av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce .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-0b2cb3548b5aa7021ed07d9354de69ce .avia_textblock{\ncolumn-count:1;\n}\n.av_textblock_section.av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce .avia_textblock.av_multi_colums > p:first-child{\nmargin-top:0.85em;\n}\n}\n<\/style>\n<section  class='av_textblock_section av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock av_multi_colums'  itemprop=\"text\" ><h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Cartoon gender dynamics between 1950 and 1990<\/span><\/h2>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">While there is a complex relationship between television and its influence on society,<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">research shows that French cartoons since the 1950s have not been increasingly egalitarian and representative of changes in society. The first cartoons, produced between 1957 and 1974, not only suffered from a severe shortage of female characters (only 17.9% of the total), but some of them may also have worked in reverse, accentuating gender inequalities in their most recent versions. Over the years, Claude Laydu&#8217;s &#8220;Bonne nuit les petits&#8221; series has moved away from a fair portrayal of Mirabelle and Petit Louis (the ancestors of Nicolas and Pimprenelle) towards a different version of these child characters: in 1962, Petit Louis likes to use the iron, while in the 1995 version, Nicolas refuses to take on household chores, which are taken on by Pimprenelle.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">From a strictly quantitative point of view, the following period from 1975 to 1989, still left little room for women, with an average of 19.6% female character cartoons.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Marked by the &#8220;Smurfette syndrome&#8221;, the productions of this period often made do with a single female character who served as a foil for the white male hero. This was the fate of young Sophie in Inspecteur Gadget (1983-1986, FR3), who helps her uncle by remaining in the shadows and is never rewarded for her work, or of the young Inca Zia, who\u2019s always the victim of some kidnapping that takes her away from the young Spanish hero, Est\u00e9ban, in Les myst\u00e9rieuses cit\u00e9s d&#8217;or (1982-1983, Antenne 2).<\/span><\/p>\n<div id=\"attachment_1207\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1207\" class=\"size-medium wp-image-1207\" title=\"photo focus 9\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-300x189.png\" alt=\"photo focus 9\" width=\"300\" height=\"189\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-300x189.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-400x252.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9.png 496w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1207\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Sophie, \u2018Inspector Gadget\u2019, 1982<\/span><\/p><\/div>\n<h2 class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Since the 1990s, there have been more female characters on screen <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">in more complex roles<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Between 1990 and 2004, the proportion of female characters slowly rose to an average of 25.3%. The 1990s also saw the introduction of progressive themes, such as family reunification and sexuality. For example, &#8220;Le Bonheur de la vie&#8221; (1991, FR3), was contested by certain religious associations for its\u2019 daring sex-education messaging, or in &#8220;Les Zinzins de l&#8217;espace&#8221; (1997-1998 season 1 ; 2005-2006 season 2, France 3), a cartoon that initiated the extraterrestrial character, Candy. They were a LGBT character with a non-binary gender identity, brought to the screen.<\/span><\/p>\n<div id=\"attachment_1209\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1209\" class=\"size-medium wp-image-1209\" title=\"photo focus 9\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-1-300x154.png\" alt=\"photo focus 9 1\" width=\"300\" height=\"154\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-1-300x154.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-1-400x205.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-1.png 462w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1209\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Candy, \u00ab Les Zinzins de l\u2019espace \u00bb, 1997<\/span><\/p><\/div>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">However, the 1990s also saw a return to older imaginary worlds, with the idealisation of male adventurers and no real place for women, such as the series &#8220;Once upon a time&#8230;&#8221; (&#8230; &#8220;les Am\u00e9riques&#8221;, 1991, Canal+; &#8220;les d\u00e9couvreurs&#8221;, 1994, Canal +; &#8220;les explorateurs&#8221;, 1996, Canal+) by Albert Barill\u00e9, or the new adventures of comic book heroes such as &#8220;Lucky Luke&#8221; (1991-1992, FR3) and &#8220;Les Aventures de Tintin&#8221; (1992, France 3). However, there is a noticeable trend towards a gradual diversification of the female and male identities portrayed in children&#8217;s programmes, which becomes more pronounced at the dawn of the 2000s.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In quantitative terms, the proportion of female animated characters rose to 31.3% between 2005 and 2014, a period marked by the arrival of streaming and the kids television channel, Gulli. This figure is still low, but slightly higher in<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">comparison to other forms of media during this time. The decade was marked by the emergence of combative heroines, such as the spies in &#8220;Totally Spies!&#8221; (2002-2007 seasons 1 to 5; 2013 season 6, TF1), who paved the way for other strong female cartoon characters.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Another example can be seen in the series &#8220;Code Lyoko&#8221; (2003-2007, France 3), which echoes the struggle for the on-screen representation of marginalized identities, while promoting queer and deconstructivist feminism. The<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">series&#8217; young characters are all slightly atypical, developing on the basis of shared passions and resemblance rather than complementarity. This girl-boy dynamic helps to deconstruct certain stereotypes: Yumi and Ulrick share individualistic qualities while practicing martial arts; J\u00e9r\u00e9mie and A\u00e9lita defy social norms and have a passion for computers.<\/span><\/p>\n<div id=\"attachment_1211\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1211\" class=\"size-medium wp-image-1211\" title=\"photo focus 9\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-2-300x243.png\" alt=\"photo focus 9 2\" width=\"300\" height=\"243\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-2-300x243.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-2-400x324.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-2.png 483w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1211\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">J\u00e9r\u00e9mie et A\u00e9lita, \u00ab Code Lyoko \u00bb, 2004<\/span><\/p><\/div>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Taking greater account of gender issues<\/span><\/h2>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Even today, the norm in action-adventure series\u2019 still sees the only female character dressed all in pink, surrounded by two or three male characters, used to embody<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">femininity that is supposed to satisfy female viewers. There are some notable initiatives, however, such as the series &#8220;Les Culott\u00e9es&#8221;, adapted from the work of P\u00e9n\u00e9lope Bagieu, broadcast in 2020. Its ambition was to bring contemporary feminist themes to the screen, while rising to the challenge of addressing children and adults alike. As daring as it is to be progressive, its broadcast on France T\u00e9l\u00e9visions channels were cancelled, after just a few episodes.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The &#8220;Chouette, pas chouette&#8221; series, developed in 2021 to combat gender stereotypes, have been optioned by several networks (France T\u00e9l\u00e9visions, Disney Channel, Gulli, Piwi+, Nickelodeon, TF1 and Bayard Jeunesse). The 16 episodes were produced with the support of the Centre de liaison de l&#8217;enseignement et des m\u00e9dias d&#8217;information (CLEMI). The series has also been adapted into an educational booklet to enable school teachers to develop their teaching approaches with activities on<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">themes of gender equality, for k-12 learning.<\/span><\/p>\n<p><img decoding=\"async\" class=\"size-medium wp-image-1213 aligncenter\" title=\"photo focus 9\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-3-300x191.png\" alt=\"photo focus 9 3\" width=\"300\" height=\"191\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-3-300x191.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-3-400x255.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-9-3.png 480w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<p class=\"cvGsUA direction-ltr align-center para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Ladybug and Chat Noir, <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">\u00ab Les aventures de Ladybug et Chat Noir \u00bb, 2015<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">For example, the two heroes&#8217; classmates, Rose and Juleka, form a lesbian relationship who have been canonised, throughout the seasons. Although very discreet on screen, fans seize on these representations to produce online fan fiction that places them at the centre of their storylines. The exact same phenomenon can be noted for the couple formed by schoolboys Marc and Nathaniel, even more implicit on screen, but all the more present in fans&#8217; online creations.<\/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\"><strong><span class=\"OYPEnA text-decoration-underline text-strikethrough-none\">The Observatoire des images<\/span><\/strong><span class=\"OYPEnA text-strikethrough-none text-decoration-none\">, 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\">Convinced that images can create representations and lock people into stereotypes, or on the contrary enable emancipation and open up the field of possibilities, the observatory&#8217;s partners have come together to reflect and act together, whether their members work in production, distribution, financing, communication, research, institutions, etc.<\/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<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8211; raise awareness among public authorities, professionals and the general public ;<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8211; develop research into the reception of images and highlight existing work;<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8211; bring together and support professional practices<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-start para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">&#8211; to promote projects and teams working to combat 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 : <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">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-ldt1wov9-538a3854dc03a97b31117751d61ecba3-wrap avia-button-center  avia-builder-el-10  el_after_av_hr  avia-builder-el-last '><a href='https:\/\/observatoiredesimages.org\/focus\/9\/?tmstv=1678875092'  class='avia-button av-ldt1wov9-538a3854dc03a97b31117751d61ecba3 avia-icon_select-no avia-size-small avia-position-center avia-color-theme-color'  ><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":975,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,2],"tags":[],"_links":{"self":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19356"}],"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=19356"}],"version-history":[{"count":5,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19356\/revisions"}],"predecessor-version":[{"id":19420,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19356\/revisions\/19420"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media\/975"}],"wp:attachment":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media?parent=19356"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/categories?post=19356"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/tags?post=19356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}