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'La Vendedora de Amor' movie costume

'La Vendedora de Amor' movie costume

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Performer Gilda Mirós wore this in the 1964 film “La Vendedora de Amor,” (which roughly translates to ‘The Seller, or Saleswoman, of Love’), her first leading role in a film. Shot in the Bronx, New York, the film is considered the first Puerto Rican motion picture to be produced in New York City by a Puerto Rican producer and director, Geronimo Mitchell Melendez, and with a Puerto Rican lead actress, Mirós. Mirós said of the film, “It is important because it was my first leading role and although l am not a dancer, l had to dance. It was filmed in the Bronx, NY where l was raised.”
In the 1950s, consumers made television the centerpiece of the home, fueling competition among broadcasters to create new products, new programming, new stations, and even new networks. Innovators, such as those behind the creation of independent Spanish-language stations and eventually the Spanish International Network (SIN), challenged established broadcasting companies by creating new programming in Spanish and catering to underserved audiences. Established in the early 1960s, SIN knit together independents and created new stations to serve a national audience. With a complex business and legal history, SIN eventually became Univision in the 1980s. In the decades after 1980, Spanish-language programing options grew with recognition of Latinx communities as powerful consumer groups and the advent of new broadcasting technologies such as cable and digital TV.
Description (Spanish)
La artista Gilda Mirós uso esta prenda en la película de 1964 "La Vendedora de Amor.” Fue su primer papel como protagonista de cine. Filmada en el Bronx, Nueva York, es considerada como la primera película puertorriqueña producida en esta ciudad, de productor y director puertorriqueño, Gerónimo Mitchell Meléndez, y con una actriz principal puertorriqueña, Mirós. La actriz dijo refiriéndose a la película: “Es importante porque fue mi primer papel protagónico y aunque no soy bailarina, tuve que bailar. Se filmó en el Bronx, Nueva York, donde me crie".
En la década de 1950, los consumidores hicieron de la televisión un componente central de sus hogares, fomentando la competencia entre las difusoras para crear nuevos productos, nueva programación, nuevas estaciones, e incluso nuevas redes. Los innovadores, como los creadores de los canales independientes de habla hispana y el Spanish International Network (SIN), desafiaron a las emisoras establecidas creando nuevos programas en español centradas en audiencias históricamente ignoradas. Establecido a principios de los sesenta, SIN unió a difusoras independentes y creó nuevas estaciones para responder a una audiencia nacional. Tras una compleja trayectoria empresarial y legal, SIN se convertiría en Univisión en la década de 1980. Durante las próximas décadas, las opciones de programación en español crecieron gracias al reconocimiento de la comunidad Latinx, como poderoso grupo de consumidores, y a la introducción de nuevas tecnologías de difusión, como el cable y la televisión digital.
Object Name
date made
Associated Place
United States: New York, Bronx
Physical Description
silver (overall color)
fabric (overall material)
brasierre: 5 1/2 in x 14 in; 13.97 cm x 35.56 cm
underwear: 10 in x 15 in; 25.4 cm x 38.1 cm
sleeves: 17 1/2 in x 5 1/4 in; 44.45 cm x 13.335 cm
ID Number
catalog number
accession number
Credit Line
Gift of Gilda Miros
Women's History
Puerto Rico
See more items in
Work and Industry: Work
¡De Ultima Hora!
Exhibition Location
National Museum of American History
Data Source
National Museum of American History
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