{"id":19370,"date":"2023-02-06T21:48:32","date_gmt":"2023-02-06T20:48:32","guid":{"rendered":"https:\/\/observatoiredesimages.org\/focus-6-happy-end-pour-tous_lgbtq\/"},"modified":"2024-07-08T15:24:22","modified_gmt":"2024-07-08T13:24:22","slug":"focus-6-happily-ever-after-for-all-diversifying-lgbtq-storytelling","status":"publish","type":"post","link":"https:\/\/observatoiredesimages.org\/en\/focus-6-happily-ever-after-for-all-diversifying-lgbtq-storytelling\/","title":{"rendered":"FOCUS #6 &#8211; Happily Ever After For All? The Importance of Diversifying LGBTQ+ Storytelling."},"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-19370'><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-67a8697dabe0749f84670e958ff8e2a2\">\n#top .flex_column.av-ldsvxm3d-67a8697dabe0749f84670e958ff8e2a2{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.flex_column.av-ldsvxm3d-67a8697dabe0749f84670e958ff8e2a2{\nbackground-color:#d33970;\n}\n.responsive #top #wrap_all .flex_column.av-ldsvxm3d-67a8697dabe0749f84670e958ff8e2a2{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-ldsvxm3d-67a8697dabe0749f84670e958ff8e2a2 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-1191f84b9b0a8153b3fa2776c42bd936\">\n#top .av_textblock_section.av-ldsvq00q-1191f84b9b0a8153b3fa2776c42bd936 .avia_textblock{\nfont-size:20px;\ncolor:#12001e;\ntext-align:right;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsvq00q-1191f84b9b0a8153b3fa2776c42bd936 '   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#06<\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-85qqu-87136afb09db80d62f9a081bce42d57b\">\n.flex_column.av-85qqu-87136afb09db80d62f9a081bce42d57b{\nborder-width:4px;\nborder-color:#d33970;\nborder-style:solid;\n}\n<\/style>\n<div  class='flex_column av-85qqu-87136afb09db80d62f9a081bce42d57b 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-36cfccb065a1cb4d2f70dca405911044\">\n#top .av-special-heading.av-ldsv3l8z-36cfccb065a1cb4d2f70dca405911044{\npadding-bottom:10px;\ncolor:#5e17eb;\n}\nbody .av-special-heading.av-ldsv3l8z-36cfccb065a1cb4d2f70dca405911044 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-ldsv3l8z-36cfccb065a1cb4d2f70dca405911044 .special-heading-inner-border{\nborder-color:#5e17eb;\n}\n.av-special-heading.av-ldsv3l8z-36cfccb065a1cb4d2f70dca405911044 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-ldsv3l8z-36cfccb065a1cb4d2f70dca405911044 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\"  >Happily Ever After For All? The Importance of Diversifying LGBTQ+ Storytelling. <\/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\">This focus was written in collaboration with Manon Ardisson, a producer at Ardimages UK, a production company for film and television based in London. They partner with the Observatory of Images &#8211; an organization committed to developing projects that defy norms and contribute to change through entertainment.<\/span><\/strong><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"><strong>Overview:<\/strong> Over the past 20 years, there has been a growing interest in representing LGBT identities in cinema and the audiovisual industry. However, with representation, the quality and diversity of these characters are at stake. Facing stereotypes continuously perpetrated in the media, more and more directors and producers have dedicated themselves to offering authentic LGBTQ+ characters. However, this effort requires the support from directors and producers who are committed to developing more diverse stories.<\/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\">God\u2019s Own Country (2017), by Francis Lee, was met with a fair number of obstacles, notably the script being seemed too \u201cNiche\u201d, to speak to the general public \u2013 and heterosexual audiences. The originality of the script lies in its simplicity: a love story between two men, a Yorkshire farmer and a Romanian immigrant. In the script, the challenges the protagonists face are with the \u201clove game\u201d relationship, rather than their gender or who they love.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">However, the representation of on-screen LGBT representation has never been as important. In the UK, 121 LGBT series\u2019 regular characters were featured in primetime broadcasting during the 2019-2020 season.<\/span><\/p>\n<div id=\"attachment_1301\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1301\" class=\"size-medium wp-image-1301\" title=\"photo focus 6\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-300x289.png\" alt=\"photo focus 6\" width=\"300\" height=\"289\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-300x289.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-36x36.png 36w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-400x386.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-500x482.png 500w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6.png 504w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-36x36@2x.png 72w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1301\" class=\"wp-caption-text\"><span style=\"color: #5e17eb;\">God&#8217;s own country, Francis Lee, 2017<\/span><\/p><\/div>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Recently, many films featuring LGBT characters have certainly left their mark, like <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Moonlight<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"> (2016) by Barry Jenkins, Call Me By Your Name (2017) by Luca Guadagnino, and A Portrait of a Lady on Fire (2019), by C\u00e9line Sciamma. However, creating more representation is not the only answer to this problem \u2013 many stereotypes still remain on screen. The quantity of representation should not overshadow the quality: it\u2019s not a question of showing more minorities on screen, but we must ensure representation does not reinforce clich\u00e9s.<\/span><\/p>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Diversifying storylines and giving the opportunity for LGBT characters to come to life, and express themselves on screen, matter.<\/span><\/p>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Diversifying Narratives<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">In fact, stories depicting gay individuals are often marked with tragedy. Seen as alone, betrayed, or dead, these stereotypes are at the heart of prolific gay cinema and culture, seen notably in Broke Back Mountain (2005), by Ang Lee, Boys Don\u2019t Cry by Kimberly Pierce (1999), or Philadelphia (1993) by Jonathan Demme. The condemning of LGBT+ characters has become such a worn-out narrative arc that film critics have turned it into its own genre &#8211; the \u201cBury your gays\u201d films.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Of course, the tragic outcomes of LGBT characters in films are deeply rooted in historic oppression and it is important not to deny the violence to which this community has been victims of. But in the Western World where homosexuality was decriminalized within the last 40 years, the narratives featuring queer characters can<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">still be diversified. Straight romantic comedies are largely exempt from the demands and expectations of realism.<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">We should not fantasize the relationships of LGBT characters but bring a lightness to their stories. This involves to stop confining LGBT people to dramas or historical films, and giving them space in other genres of film, notably in Romantic Comedies, Westerns, or Sci-Fi, while also ensuring they do no not appear as caricatures. For most queer children growing up in heterosexual families, exposure to positive media representation is all the more important for the formation of their identity and maneuvering situations they may encounter growing up.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">It is ultimately a question of allowing minority characters to claim the same complex narratives as their heterosexual counterparts. The British Institute of Film (BFI) has conducted research in this field as well as<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">supported the production of God\u2019s Own Country, and also presented Ardimages UK the Prestigious Vision award in 2020. On Rotten Tomatoes, God\u2019s Own Country was approved by 98% of critics, with an average <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">rating of 7.96\/10.<\/span><\/p>\n<div id=\"attachment_1303\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1303\" class=\"size-medium wp-image-1303\" title=\"photo focus 6\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-1-300x228.png\" alt=\"photo focus 6 1\" width=\"300\" height=\"228\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-1-300x228.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-1-400x304.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-1-500x380.png 500w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-1.png 502w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1303\" class=\"wp-caption-text\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Portrait of a Lady on Fire (2019)<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">, C\u00e9line Sciamma,<\/span><\/p><\/div>\n<p class=\"cvGsUA direction-ltr align-justify para-style-body\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">One year after its release, the American series Love Simon (2015) by Greg Berlanti, and Sex Education (2019) by Laurie Nunn, continues to broaden horizons by introducing young adult rom-coms that create nuanced portrayals of queer characters. While suffering from oppression, queer characters are allowed to have more hope, which is the case in films like <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Carol<\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\"> (2016) or Barry Jenkins\u2019 <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Moonlight<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">(2016). The nature of these films don\u2019t detail any certain future for its protagonists, suggesting that the lovers could find each other and live happily at the end of the film.<\/span><\/p>\n<h2 style=\"text-align: justify;\"><strong><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Tackling Misrepresentations<\/span><\/strong><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Once minorities have been freed from these tragic tropes, all that remains is to allow them to escape caricatures by ensuring<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">their characters are defined beyond their sexuality. The vast majority of films, even if they want to be progressive, reduce their queer characters solely to their identities. Some television series\u2019 have moved past<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">these previous tropes: Andrea Martel in Ten percent broadcasted in France by France 2 (2015-2020) and David Rose in Schitt\u2019s Creek broadcasted in France by Canal+ (2015-2020), where both LGBTQ+ characters whose sexuality was not questioned or <\/span><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">stigmatized in the narrative.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Megan Townsend, director and researcher at GLAAD, an association that promotes LGBT+ representation within the media, underlines \u201cWe want to see more LGBT characters whose issues have nothing to do with their homosexuality, who are limited to their identities\u201d.<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Following the example of the series Easy (2016), streamed in France via Netflix, it instead focuses on conflicts within a Lesbian couple, much like relationships of heterosexual couples.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The balance however rests unsurely between the acknowledgement of queer history and the freedom for characters and artists to exist freely beyond their identities, to which they have been reduced to. We must watch out for \u201cTokenism\u201d, initiated through films.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Tokenism consists of making \u201cefforts\u201d of inclusion towards minorities, solely to avoid accusations of discrimination. A number of series\u2019 almost have an automatic way of narrating homosexual characters, whose stories are often rushed and centered on stereotypes.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">For example, in the case of Daniel Franzese, who plays the stereotypical \u201cGay Best Friend\u201d in Tina Fey\u2019s Mean Girls (2004), he doesn\u2019t play an integral part to the story. Cinema as well uses stereotypical \u201ctoken\u201d characters to protect themselves from these accusations.<\/span><\/p>\n<div id=\"attachment_1305\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1305\" class=\"size-medium wp-image-1305\" title=\"photo focus 6\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-2-300x192.png\" alt=\"photo focus 6 2\" width=\"300\" height=\"192\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-2-300x192.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-2-400x256.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-2.png 496w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1305\" class=\"wp-caption-text\"><span style=\"color: #5e17eb;\">Moonlight, Barry Jenkins, 2016<\/span><\/p><\/div>\n<h2 style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">The role of production<\/span><\/h2>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">Sam Feder, the director of Disclosure (2020), demonstrates that since the creation of American Television, transgender people have been represented in a discriminatory manner.<\/span><\/p>\n<div id=\"attachment_1309\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1309\" class=\"size-medium wp-image-1309\" title=\"photo focus 6\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-4-300x191.png\" alt=\"photo focus 6 4\" width=\"300\" height=\"191\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-4-300x191.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-4-400x255.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-4-500x319.png 500w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-6-4.png 514w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1309\" class=\"wp-caption-text\"><span style=\"color: #5e17eb;\">Disclosure, Sam Feder, 2020<\/span><\/p><\/div>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">LGBTQ+ people only want to be portrayed like others, as demonstrated by the gay men and women who recount their struggles, and their desires in Les Invisibles (2012), by S\u00e9bastien Lifshitz. However, we still need to let every person be seen on screen with more freedom than our society\u2019s current stereotypical narratives.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"OYPEnA text-decoration-none text-strikethrough-none\">It is within every facet of a film production, starting with producers and<\/span> <span class=\"OYPEnA text-decoration-none text-strikethrough-none\">directors, who need to support dynamic storytelling. There is a need to shift attention from the sole visibility of minorities on screen, to diversifying the stories being told about LGBTQ+ identities.<\/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>L\u2019Observatoire des images<\/strong>, is the first associative body that gather those who are interested in the role of images in cinema, television, video games and advertisements, especially 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\">\u2014 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-a2049039026aaed066bc9573e26b848f-wrap avia-button-center  avia-builder-el-10  el_after_av_hr  avia-builder-el-last '><a href='https:\/\/observatoiredesimages.org\/focus\/6\/?tmstv=1678876418'  class='avia-button av-ldt1wov9-a2049039026aaed066bc9573e26b848f 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":969,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,2],"tags":[],"class_list":["post-19370","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\/19370","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=19370"}],"version-history":[{"count":4,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19370\/revisions"}],"predecessor-version":[{"id":19372,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19370\/revisions\/19372"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media\/969"}],"wp:attachment":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media?parent=19370"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/categories?post=19370"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/tags?post=19370"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}