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Douglas Sirk, now fully recognized as an influential filmmaker, was considered a successful but uninteresting director in the 1950s. His melodramas were considered bland and subsequently ignored because they focused on female-centric concerns. In the following decades, he started to be considered as an auteur that not only had an impeccable and vibrant mise-en-scène, but also a unique ability to deliver movies that might seem superficial on a surface level but were able to sneak in some subtle and revolutionary criticism about American society. The aim of this paper is to analyse the most rebellious and subversive aspects of Sirk’s classic All that Heaven Allows (1955) from a gender perspective and how Todd Haynes’s tribute Far from Heaven (2002) added new challenges by touching upon thorny subjects that already existed in Sirk’s time but were deemed taboo for mass audiences.

In Toward a Psychosociology of Contemporary Food Consumption, Roland Barthes defines food as «a system of communication, a body of images, a protocol of usages, situations and behaviour». Taking into account that American society has accepted as its own a variety of dishes that reflect a host of cultural phenomena, the aim of the present paper is to examine the rhetoric of emotions and food consumption in Desperate Housewives, a fictional universe that could be defined as a post-feminist locus amoenus in which appearance is everything and nothing is what it seems, a drama series in which emotions, behaviours and beliefs are inextricably tied to the production, distribution, and intake of food.

Desde la década de los setenta del pasado siglo, encontramos ejemplos de aeropuertos que han ido adquiriendo obra de artistas de reconocido prestigio que exhiben en sus instalaciones y forman parte de sus colecciones permanentes. Recientemente, algunos espacios aeroportuarios han optado por abrir galerías en las que se suceden exposiciones periódicamente. El objetivo del presente trabajo es investigar, examinar y dar a conocer su rica y variada inmersión artística y cultural en un paseo de solaz y entretenimiento por algunos aeropuertos de Estados Unidos y Europa. Aeropuerto, arte, galería, museo, cultura, Estados Unidos, Europa. Since the past 1970´s, we can find examples of airports that have been acquiring the work of artists of well-known prestige to be exhibited at their facilities and accruing it to their permanent collections. Recently, airport authorities have staffed art galleries where exhibitions are periodically taking place. This herewith paper is aimed to research, examine and hand out their rich and variegated immersion in artistic and cultural backgrounds, an uplifting break for the imagination throughout some airports of the

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