Abstract
This article aims to analyze the relevance of the Spanish dancer Carmen Dauset Moreno for film History. Known in vaudeville circles as Carmencita, she was the first woman to appear on two brief films for the kinetoscope made in Edison's studio in march 1894. In this sense, the article tries to put in context the appearance of the Spanish artist in these films and poses questions on the meaning of them in the development of the initial stages of cinematic representation and their link to the origins of cinema censorship in the United States of America.
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