{"id":2511,"date":"2019-12-08T12:03:26","date_gmt":"2019-12-08T12:03:26","guid":{"rendered":"https:\/\/reframe.sussex.ac.uk\/mediatico\/?p=2511"},"modified":"2019-12-19T10:47:45","modified_gmt":"2019-12-19T10:47:45","slug":"these-mexican-madchen","status":"publish","type":"post","link":"https:\/\/reframe.sussex.ac.uk\/mediatico\/2019\/12\/08\/these-mexican-madchen\/","title":{"rendered":"These Mexican M\u00e4dchen"},"content":{"rendered":"\n<figure><div class=\"embed-vimeo\" style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/372100471\" width=\"600\" height=\"338\" frameborder=\"0\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><small><em>Above, a comparative <a href=\"https:\/\/vimeo.com\/372100471\">videographic study<\/a> by <a href=\"https:\/\/catherinegrant.org\">Catherine Grant<\/a> showcasing the repetitions and variations across two sets of corresponding sequences from the three direct film adaptations of Christa Winsloe&#8217;s <\/em>M\u00e4dchen in Uniform<em> \/ <\/em>Girls in Uniform<em> (aka<\/em> Ritter N\u00e9restan<em> and <\/em>Gestern und Heute<em>, 1930-32): <\/em>M\u00e4dchen in Uniform<em> (Leontine Sagan, Germany 1931); <\/em>Muchachas de uniforme<em> (Alfredo B. Crevenna,  Mexico 1951); <\/em>M\u00e4dchen in Uniform <em>(G\u00e9za von Radv\u00e1nyi, West Germany 1958).  *Contains references to suicide<\/em><\/small><\/p>\n\n\n\n<p><em>Below, a production and textual analysis of <\/em>Muchachas de uniforme <em>(Alfredo B.  Crevenna)<\/em> <i>by <\/i><em><a href=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/2018\/08\/06\/outing-queer-archives-in-mexico-city-the-jotographies-of-agustin-martinez-castro\/\">Roberto Carlos Ortiz<\/a> situating the Mexican remake of <\/em>M\u00e4dchen in Uniform<em> in the midst of Mexico&#8217;s transnational and genre based classical film industry, and also exploring the appeal of its Italian-Polish star Irasema Dilian and the queer pleasures offered by the film.<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>These Mexican M\u00e4dchen<\/strong><\/p>\n\n\n\n<p>by Roberto Carlos Ortiz<\/p>\n\n\n\n<p class=\"has-text-align-right\"><br> I wanted to delve into the tortured soul of Manuela,<br> I studied the most difficult angles of the brain<br> and the heart of that ghostly woman<br>&#8211; Irasema Dilian, 1951<br> <\/p>\n\n\n\n<p>Considered by some as the first Mexican film about lesbianism, <em>Muchachas de uniforme<\/em> (<em>Girls in Uniform<\/em>, Alfredo B. Crevenna, 1951) is the little-seen Mexican remake of German classic <em>M\u00e4dchen in Uniform<\/em> (Leontine Sagan, 1931), based on a 1930 play by lesbian writer Christa Winsloe. Set during the last decade of the Porfirio Diaz regime, the Mexican adaptation tells the story of Manuela (Irasema Dilian), an illiterate orphan of unspecified European origin who gets a scholarship by bequest to attend a Mexican convent school. The lay literature teacher Se\u00f1orita Lucila (Marga L\u00f3pez) becomes her surrogate mother figure and the sensitive Manuela naively falls in love with her, under the watchful eyes of the strict Mother Superior (Rosaura Revueltas), the insinuating M\u00e9re Josephine (Mar\u00eda Douglas) and the snobbish Mar\u00eda Teresa (Patricia Moran), niece of her benefactress. Things end tragically when the God-fearing Manuela learns that she has unknowingly sinned by falling in love with Lucila and she jumps from the school\u2019s bell tower to appease her soul. Manuela\u2019s death makes Lucila conscious of her true vocation and the film ends with her initiation as novice.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"560\" height=\"960\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-a.jpg\" alt=\"\" class=\"wp-image-2554\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-a.jpg 560w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-a-175x300.jpg 175w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" \/><\/figure>\n\n\n\n<p>I became interested in <em>Muchachas de uniforme<\/em> while researching the career of Irasema Dilian, a mostly forgotten Polish-Italian actress who starred in 1950s Mexican films. The casting of a 26-year-old Spanish-speaking Polish ing\u00e9nue of Italian cinema, whose name invokes her Brazilian birthplace (to a diplomat), to star in a remake of a German classic of queer cinema struck me as one of the oddest star-making stories in Mexican film history. How did <em>Muchachas de uniforme<\/em> become the launching pad for Irasema Dilian in Mexico? That question set me on a research path in which the histories of transnational relations and queer images in Mexican cinema intersect.<\/p>\n\n\n\n<p>The main architect behind <em>Muchachas de uniforme <\/em>was German \u00e9migr\u00e9 producer Rodolfo Lowenthal (Rudi Loewenthal), another forgotten figure in Mexican film history who had worked as journalist, publicist, agent and producer in Berlin, Vienna, Sweden, and Paris before emigrating to Havana with help from the European Film Fund. Lowenthal arrived in Mexico City in 1945 and during his brief  time in Mexico  produced a series of artistically ambitious melodramas most of them based on European texts. Starting with <em>Algo flota sobre el agua<\/em> (1948), Lowenthal used the creative team of German director Alfredo B. Crevenna (whom he first met in Vienna), Austrian screenwriter Egon Eis (who had also emigrated to Havana) and Mexican writer Edmundo B\u00e1ez (in charge of dialogues). According to the press, Rodolfo Lowenthal had worked for agent Paul Kohner in Paris and represented Kohner\u2019s interests in Producciones Mercurio, the short-lived production company set up by Dolores Del Rio. Lowenthal took credit for finding, among others, the story that became the Mercurio production <em>La otra<\/em> (Roberto Gavald\u00f3n, 1946) and <em>Muchachas de uniforme<\/em> was first proposed as Dolores Del Rio\u2019s next Mercurio film.<\/p>\n\n\n\n<p>Some critics have mischaracterized the Mexican adaption of <em>M\u00e4dchen in Uniform<\/em> as a \u201cstrange case\u201d (TVUNAM 2018) or \u201ca feat\u201d (Diaz de la Vega 2018) in Mexcian cinema.  However, the idea to adapt <em>M\u00e4dchen Uniform<\/em> had precedents in other Mexican productions: ambitious adaptations of European literature as star vehicles, sentimental films set in all-girls boarding schools, melodramas about \u201csinful women,\u201d and various genres in which a young woman is sent to a convent to keep her away from a suitor (a subplot added to the Mexican adaptation). <em>M\u00e4dchen in Uniform<\/em> was still a long way from becoming an \u201cenduring classic of lesbian cinema\u201d (Film Society of the Lincoln Center 2016) and when the film premiered in Mexico City in 1933, <em>Filmogr\u00e1fico <\/em>announced it as \u201ca true monument of German cinematography.\u201d Remaking a well-known queer classic would have been audacious, but not the adaptation of an acclaimed film whose censorship outside Germany, through edits and subtitling, had \u201cmade the  lesbianism a matter of interpretation\u201d (Russo 1987:57). Also, Mexican censorship was laxer than the Hollywood Production Code. Producers were more worried about censorship for political rather than for religious or sexual reasons and being denounced by the Catholic Church could be good publicity  (as evidenced in ads during the second week of <em>Muchachas de uniforme<\/em>\u2019s first run, which asked: \u201cIs this movie immoral or not?\u201d). <\/p>\n\n\n\n<p>When <em>Muchachas de uniforme <\/em>opened in Mexico City on May 31, 1951 to mixed reviews,<em> <\/em>filmgoers most likely did not know or remember much about <em>M\u00e4dchen in Uniform<\/em>, but they knew about the stars of Mexican cinema and casting plays a central in the Mexican remake. After producing several prestige films, Rodolfo Lowenthal returned in 1949 to his plans to make <em>Muchachas de uniforme<\/em> by 1949, but he failed to persuade Dolores Del Rio to play the teacher. In early 1950 Lowenthal cast a younger actress with similar image. Best remembered for playing devoted girlfriends, wives or  mothers, Marga L\u00f3pez consolidated her stardom with award-winning roles in the melodramas <em>Soledad<\/em> (Miguel Zacar\u00edas, 1947) and <em>Sal\u00f3n M\u00e9xico<\/em> (Emilio Fern\u00e1ndez, 1948), in which she played the surrogate mother of her sister. Off screen, L\u00f3pez was the glamorous young mother of two boys and <em>El universal<\/em> ran a column in which she gave advice to mothers. As Carlos Monsiv\u00e1is notes in her roles: \u201cMarga L\u00f3pez, the sweetest, the most understanding, represents kindness defended by an essential purity\u201d (1993:68).<\/p>\n\n\n\n<p>The surprise casting of Irasema Dilian as Manuela altered the focus of the film. Rodolfo Lowenthal reportedly spotted her during a summer 1950 trip to Paris, when he tried to to coproduce <em>Muchachas de uniforme<\/em> with France. Lowenthal &#8220;found his Manuela\u201d in <em>Donne Senza Nome<\/em> (directed by G\u00e9za von  Radv\u00e1nyi, who would direct the 1958 color remake of <em>M\u00e4dchen in Uniform<\/em>), a co-production about women in a concentration camp. Irasema Dilian played a Polish detainee, a character later described in a way that could apply to her performance as Manuela: \u201ca young girl with an inferiority complex, innocent and  pitiful. Her long blonde hair, her eyes without a fixed expression and her slow way of walking, like a tormented soul\u201d (Valdez 1954: 27). Irasema Dilian\u2019s casting became the center of the publicity buildup for <em>Muchachas de uniforme<\/em>, including pre-production photos of the young actress hanging out in Paris, being welcomed by Jorge Negrete at the Mexico City airport, socializing with her co-stars during a reception at the fashionable nightclub El Patio, and visiting the sets with Lowenthal and Crevenna.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"811\" height=\"960\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-f.jpg.png\" alt=\"\" class=\"wp-image-2559\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-f.jpg.png 811w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-f.jpg-253x300.png 253w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-f.jpg-768x909.png 768w\" sizes=\"auto, (max-width: 811px) 100vw, 811px\" \/><\/figure>\n\n\n\n<p>What could an unknown Polish star of Italian cinema signify to Mexican moviegoers? Though the number of Italian films premiered in Mexico City augmented in the late 1940s, they only totaled 29 titles between 1948 and 1950, only one of them with Irasema Dilian: the adventure film <em>Aquila nera<\/em> (Riccardo Freda). The only other Dilian film shown in Mexico City had premiered in 1948: the Spanish costume film <em>Un drama nuevo <\/em>(Juan de Ordu\u00f1a). Given the lack of cinematic referents, critics relied mostly on her appearance to judge the newcomer. Efrain Huerta effusively and tellingly described Irasema Dilian as \u201cpale, blonde with light eyes, delicate in body and spirit, with a lucid mind (\u2026) with naturally youthful grace. <em>Europe\u00edsima<\/em>\u201d (1950: 15).<\/p>\n\n\n\n<hr class=\"wp-block-separator\" \/>\n\n\n\n<p><em>Muchachas de uniforme<\/em> opens with a Biblical quote that announces a sin: \u201cLet him who is without sin, cast the first stone.\u201d This reference to the tale of the adulterer positions Manuela\u2019s story in relation to empathetic melodramas about sinful women (pecadoras) that had become par for the course in Mexican cinema. In <em>M\u00e4dchen in Uniform<\/em>, Manuela von Meinhardis is a fourteen-year-old soldier\u2019s daughter whose mother has died. In <em>Muchachas de uniforme<\/em>, Manuela barely remembers her dead mother: a \u201cEuropean\u201d seamstress mother who worked in a Mexican hacienda. When Lucila suggests Manuela might be homesick for her country, she snaps back: \u201cWhat do I care about my country? I don\u2019t remember it.\u201d If Manuela grew up motherless in a Mexican <em>hacienda<\/em>, how come she has an accent? Who was her father? Why did her benefactress did not give her an education before? The gaps and contradictions add significance to the image and performance style of Irasema Dilian, a mix of Slavic looks, childlike gestures in the body of a young adult.  Manuela is introduced having arrived alone at the school and a schoolgirl comments  \u201cYou are very odd\u201d (Eres muy rara) before taking her to mass. Manuela speaks for the first time sitting in church. After the schoolgirl asks how she prays to God, Manuela answers in closeup: \u201cI don\u2019t know. I only tell him how I feel.\u201d In her first closeup in a Mexican film, the \u201ceurope\u00edsima\u201d Irasema Dilian is introduced to audiences like an angelical virginal beauty.   <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"480\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-b.png\" alt=\"\" class=\"wp-image-2555\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-b.png 631w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-b-300x228.png 300w\" sizes=\"auto, (max-width: 631px) 100vw, 631px\" \/><\/figure>\n\n\n\n<p>In <em>M\u00e4dchen in Uniform<\/em>, Manuela and Fraulein von Bernburg first meet alone in a staircase and the way they are filmed establishes an erotic attraction even before they exchange words. In <em>Muchachas de uniforme<\/em>, Manuela and Se\u00f1orita Lucila meet in an open space (the courtyard), surrounded by nuns and schoolgirls, right after Manuela talks about her mother: \u201cI didn\u2019t know her. She died when I was little.\u201d Manuela cries and screams (\u201cNo one has ever loved me! No one!\u201d) when we first hear Lucila\u2019s voice commanding her to stop. The camera moves to the right and Manuela and Lucila share the frame for the first time. Their meeting establishes a distribution of roles: Manuela is the emotional one while Se\u00f1orita Lucila will react to those emotions with bewilderment (wide eyes), compassion (tender smile) and\/or rejection (clenched fists). <br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"480\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-c.png\" alt=\"\" class=\"wp-image-2556\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-c.png 631w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-c-300x228.png 300w\" sizes=\"auto, (max-width: 631px) 100vw, 631px\" \/><\/figure>\n\n\n\n<p>There is a narrative need to establish that Manuela\u2019s love for Lucila is potentially sinful while negating the possibility of a lesbian relationship. Manuela evidently adores Se\u00f1orita Lucila and openly declares her love in the film. However, the script differentiates Manuela\u2019s love for her teacher from the love the other schoolgirls feel for boys, starting with a classroom exchange in which Lucila distinguishes the kinds of love in \u201camorous\u201d (sexual) and \u201cmystical\u201d (spiritual) poetry, and the possibility of confusing their language. Strategic references to St. John of the Cross and <em>Quo Vadis? <\/em>establish that Manuela loves Lucila like a figure of religious worship, not as a source of sexual awakening and same-sex desire. This is reinforced by a lack of homoeroticism and female intimacy in the movie, despite the absence of men. In place of the homoerotic atmosphere in <em>M\u00e4dchen in Uniform<\/em>, heterosexual desire lurks around the Catholic boarding school of <em>Muchachas de uniforme<\/em> through the voices of unseen men (a secret lover, Caruso, serenading students, Lucila\u2019s fianc\u00e9). Irasema Dilian and Marga L\u00f3pez show no chemistry as a potential couple and it is Mar\u00eda Douglas as the inquisitive M\u00e9re Josephine who comes across as the queerest character: a potential predatory lesbian who lurks around Lucila (and gets to keep her). <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"480\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-d.jpg.png\" alt=\"\" class=\"wp-image-2557\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-d.jpg.png 631w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-d.jpg-300x228.png 300w\" sizes=\"auto, (max-width: 631px) 100vw, 631px\" \/><\/figure>\n\n\n\n<p>A brief literary reference suggests an additional source besides <em>M\u00e4dchen in Uniform<\/em>. Mar\u00eda Teresa, the petulant niece of Manuela\u2019s benefactress, is briefly shown reading Emile Zola\u2019s <em>Nana<\/em> in bed. There is no basis in <em>M\u00e4dchen in Uniform<\/em> for her character, whose narrative function is akin to the lying Mary in Lillian Hellman\u2019s play <em>The Children\u2019s Hour<\/em>. After maliciously instigating Manuela\u2019s drunkenness and her \u201ccoming out\u201d in the dormitory, Mar\u00eda Teresa is the only schoolgirl who knows what is \u201cManuela\u2019s sin.\u201d Like Mary in the Hellman play, she learns about lesbians through a book, and the choice of <em>Nana<\/em> equates lesbianism with sexual decadence, prostitution and sin. Mar\u00eda Teresa resorts to the school gossip to spread the (unheard) name of the sin among the schoolgirls, leading to a fascinating scene in which Manuela goes around the courtyard asking them to tell her. After learning the name of her sin Manuela is tormented into killing herself. In addition to acting as a catalyst for the resolution, Mar\u00eda Teresa\u2019s role reinforces the notion that \u201cManuela\u2019s sin\u201d was a misunderstanding, a malicious lie.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"480\" src=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-e.jpg.png\" alt=\"\" class=\"wp-image-2558\" srcset=\"https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-e.jpg.png 631w, https:\/\/reframe.sussex.ac.uk\/mediatico\/files\/2019\/12\/muchachas-e.jpg-300x228.png 300w\" sizes=\"auto, (max-width: 631px) 100vw, 631px\" \/><\/figure>\n\n\n\n<p>That\nnegation of lesbian desire does not impede finding queer pleasures in the film.\nThe status of <em>M\u00e4dchen in Uniform<\/em> as classic of queer cinema clearly\nhovers over our contemporary appreciations, leading some to even see in the\nremake an openness about female sexuality that does not exist (Filmoteca de la\nUNAM 2019). Perhaps viewing the film in relation to its German counterparts is\nthe most fascinating way to appreciate <em>Muchachas de uniforme<\/em> and queer\nits intended narrative.<\/p>\n\n\n\n<p><strong>REFERENCES<\/strong><\/p>\n\n\n\n<p>De Caceres\nM (1951) Irasema en traje de ba\u00f1o no quiere hablar de cine. <em>Cinema Reporter<\/em>,\n16 June.<\/p>\n\n\n\n<p>Diaz de la\nVega A (2018) <em>Muchachas de uniforme<\/em>, a feat of Mexican cinema. <em>Morelia\nInternational Film Festival<\/em>, June 28, https:\/\/moreliafilmfest.com\/en\/muchachas-de-uniforme-una-hazana-del-cine-mexicano\/.<\/p>\n\n\n\n<p>Film\nSociety of Lincoln Center (2016) Madchen in Uniform,\nhttps:\/\/www.filmlinc.org\/films\/madchen-in-uniform<\/p>\n\n\n\n<p>Filmoteca\nde la UNAM (2019), https:\/\/twitter.com\/FilmotecaUNAM\/status\/1137532832581132289<\/p>\n\n\n\n<p>Elba M\n(1947) \u201cAlgo flota sobre el agua\u201d y sus elementos. <em>Cinema Reporter<\/em>, 11\nOctober, 38.<\/p>\n\n\n\n<p>Huerta E\n(1950) Irasema sin uniforme, Lovendal al desnudo. <em>Suplemento de El nacional<\/em>,\n26 November, 15.<\/p>\n\n\n\n<p>\u201cMercurio\u201d\ny Paul Kohner con asuntos internacionales (1946). <em>Cinema Reporter<\/em>, 14\nSeptember, 30.<\/p>\n\n\n\n<p>Monsiv\u00e1is C\n(1993) <em>Rostros del cine mexicano<\/em>. Mexico: Am\u00e9rico Arte.<\/p>\n\n\n\n<p>\u201cMuchachas\nde uniforme\u201d La mejor pel\u00edcula del a\u00f1o (1933) <em>Filmogr\u00e1fico<\/em>, August.<\/p>\n\n\n\n<p>Russo V\n(1987) <em>The Celluloid Closet: Homosexuality in the Movies<\/em>. New York:\nHarper &amp; Row.<\/p>\n\n\n\n<p>TVUNAM\n(2018) <em>El extra\u00f1o caso de Muchachas de uniforme<\/em>.\nhttps:\/\/www.youtube.com\/watch?v=jdn_oqM38gA<\/p>\n\n\n\n<p>Valdes J\n(1954) La transformaci\u00f3n de Irasema. <em>Ecos de Nueva York<\/em>, 5 September,\n27.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Above, a comparative videographic study by Catherine Grant showcasing the repetitions and variations across two sets of corresponding sequences from&#8230;<\/p>\n","protected":false},"author":18,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[39,92,80],"class_list":["post-2511","post","type-post","status-publish","format-standard","hentry","category-film","tag-mexico","tag-transnational-culture","tag-video-essay"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p49QSj-Ev","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/2511","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/comments?post=2511"}],"version-history":[{"count":36,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/2511\/revisions"}],"predecessor-version":[{"id":2568,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/posts\/2511\/revisions\/2568"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/media?parent=2511"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/categories?post=2511"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediatico\/wp-json\/wp\/v2\/tags?post=2511"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}