標(biāo)題: Titlebook: Domestic Labor in Twenty-First Century Latin American Cinema; Elizabeth Osborne,Sofía Ruiz-Alfaro Book 2020 The Editor(s) (if applicable) [打印本頁(yè)] 作者: 徽章 時(shí)間: 2025-3-21 18:47
書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema影響因子(影響力)
書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema影響因子(影響力)學(xué)科排名
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書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema被引頻次
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書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema讀者反饋
書(shū)目名稱Domestic Labor in Twenty-First Century Latin American Cinema讀者反饋學(xué)科排名
作者: faculty 時(shí)間: 2025-3-21 22:53 作者: SOW 時(shí)間: 2025-3-22 01:41 作者: maudtin 時(shí)間: 2025-3-22 08:31 作者: 祖先 時(shí)間: 2025-3-22 11:24
Veit-Michael Bader,Albert Benschophe center of . (Sebastián Silva 2009, Chile), . (Jorge Gaggero 2004, Argentina), and . (Andrés Clariond 2014, Mexico). These films represent the figures of the maid and her female employer, who perceives herself as superior, and, as such, presents a heteronormative “model” of womanhood predicated on作者: 破布 時(shí)間: 2025-3-22 16:30 作者: 破布 時(shí)間: 2025-3-22 20:42 作者: granite 時(shí)間: 2025-3-23 00:51 作者: moribund 時(shí)間: 2025-3-23 02:50 作者: Vsd168 時(shí)間: 2025-3-23 09:23
https://doi.org/10.1007/978-3-322-97864-6 workers within the dynamics of power in Brazilian society. By comparing cinematic representations of ., the chapter interrogates whether they can negotiate their humanity in a place—the house of their employers—where they must be serviceable and yet invisible. In his study, Minchillo analyzes how d作者: ANTH 時(shí)間: 2025-3-23 10:02
https://doi.org/10.1007/978-3-322-97864-6 (2012), directed by William Vega. It explores how these films make sense of the lack of care for those who are facing the consequences of a state that has continuously diminished its role as a social negotiator. By placing a special focus on domestic labor, Carosi argues that domestic workers in th作者: Decibel 時(shí)間: 2025-3-23 16:16
https://doi.org/10.1007/978-3-322-97864-6I?árritu, 2006) and . (Daniel Barnz, 2014). The border defines and separates the foreign from the domestic, and thus the housemaid becomes a paradoxical figure of being an outsider with access to the most intimate form of the US domestic, the family. . is welcomed and celebrated as a model of tradit作者: Canyon 時(shí)間: 2025-3-23 18:44 作者: 輕浮思想 時(shí)間: 2025-3-24 00:53 作者: Physiatrist 時(shí)間: 2025-3-24 02:39 作者: 不透明 時(shí)間: 2025-3-24 08:22
978-3-030-33298-3The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: Affluence 時(shí)間: 2025-3-24 14:45
Beyond Tropes: Otherness and the Identity of the Brazilian Maid in , and ,y Gabriel Mascaro, could not be more different. However, the two films share more than similar titles as they use the tools of their genres to offer contemporary readings and challenge recurrent images of the Brazilian ..作者: accrete 時(shí)間: 2025-3-24 15:16
Domestic Labor and the Crisis of Care in , and ,,t has continuously diminished its role as a social negotiator. By placing a special focus on domestic labor, Carosi argues that domestic workers in these films capture the nature of a humanitarian crisis taking place in countries like Colombia where political violence is closely linked to land appropriation and forced displacement.作者: 陳舊 時(shí)間: 2025-3-24 18:59
Appendix A: Anbieterverzeichnis,h these characters, organizing their narratives around servant protagonists to explore their identity, subjectivity, and, ultimately, agency. Focusing on four female servant characters and recognizing what is innovative in these depictions, Rossi argues a new poetics of servants is taking place in Argentine cinema.作者: 消音器 時(shí)間: 2025-3-25 01:06
https://doi.org/10.1007/978-3-322-97864-6s relationship unfolds, the films explore the conflict between class identity and affect. This chapter analyzes how food as a language of class and a situation of affect inscribes power and authority daily, tracing clear lines of recognition and a rejection of the “other.”作者: preeclampsia 時(shí)間: 2025-3-25 04:40 作者: 發(fā)炎 時(shí)間: 2025-3-25 08:03 作者: Congeal 時(shí)間: 2025-3-25 14:46
https://doi.org/10.1007/978-3-322-97864-6irectors Anna Muylaert and Fellipe Barbosa dialogue with the Brazilian long-lasting history of social asymmetries and the more recent attempts to promote social justice and the enfranchisement of the poor.作者: 仇恨 時(shí)間: 2025-3-25 16:56
Book 2020s of the housemaid?question the marginalization of domestic servants, in particular women, by making them the?center of their narratives, their families, and society.?The essays in?this book posit the female domestic worker?as an emergent subjectivity, a complex character who problematizes and conte作者: extract 時(shí)間: 2025-3-25 23:56 作者: cortisol 時(shí)間: 2025-3-26 04:00 作者: Presbycusis 時(shí)間: 2025-3-26 05:26
https://doi.org/10.1007/978-3-322-97864-6t has continuously diminished its role as a social negotiator. By placing a special focus on domestic labor, Carosi argues that domestic workers in these films capture the nature of a humanitarian crisis taking place in countries like Colombia where political violence is closely linked to land appropriation and forced displacement.作者: dearth 時(shí)間: 2025-3-26 09:00 作者: 為敵 時(shí)間: 2025-3-26 13:12 作者: 膽汁 時(shí)間: 2025-3-26 17:11 作者: Connotation 時(shí)間: 2025-3-27 00:32
,Defamiliarizing the Maid: Alicia Scherson’s ,ship, Scherson presents a social critique that defies a more social realist cinema as presented in the later film ./. (Sebastián Silva, Chile, 2009), in which the family remains the idealized figure for social relations.作者: Hemoptysis 時(shí)間: 2025-3-27 04:10 作者: 少量 時(shí)間: 2025-3-27 07:43
Innovationen im lokalen Wettbewerby portrays a number of domestic workers as protagonists with agency, complexity, and subjectivity. Two more recent films, . and ., are briefly examined to support this claim and provide examples of new representations of domestic workers as opposed to the historical narrative of the 1970s present in ..作者: 小步舞 時(shí)間: 2025-3-27 09:47 作者: esoteric 時(shí)間: 2025-3-27 14:18
https://doi.org/10.1007/978-3-322-97864-6 pose the Mexican female domestic worker as a character who reinforces patriarchal and nativist agendas within current debates of immigration and national identity in the twenty-first-century United States.作者: FIG 時(shí)間: 2025-3-27 19:00 作者: Relinquish 時(shí)間: 2025-3-28 00:01
Moving Beyond Maternalism: Negotiating Models of Womanhood in ,, ,, and ,iate their responses to the employers’ models and their maternalism. Osborne concludes that the maids’ final movements beyond the household indicate a potential rupture in the distinctions established by their employers.作者: DRILL 時(shí)間: 2025-3-28 03:22 作者: 小淡水魚(yú) 時(shí)間: 2025-3-28 10:07 作者: 細(xì)查 時(shí)間: 2025-3-28 11:26 作者: ALERT 時(shí)間: 2025-3-28 15:38
Domestic Labor in Twenty-First Century Latin American Cinema作者: Hiatus 時(shí)間: 2025-3-28 19:36 作者: fiscal 時(shí)間: 2025-3-29 00:43
Introduction,ebate and conversation over the representation of domestic workers in contemporary Latin American film. The authors also provide a brief overview of the history of domestic labor in the region and in popular culture, situating it within the context of feminist and subaltern studies and connecting it作者: visual-cortex 時(shí)間: 2025-3-29 03:39 作者: Ergots 時(shí)間: 2025-3-29 09:02
Moving Beyond Maternalism: Negotiating Models of Womanhood in ,, ,, and ,he center of . (Sebastián Silva 2009, Chile), . (Jorge Gaggero 2004, Argentina), and . (Andrés Clariond 2014, Mexico). These films represent the figures of the maid and her female employer, who perceives herself as superior, and, as such, presents a heteronormative “model” of womanhood predicated on作者: Type-1-Diabetes 時(shí)間: 2025-3-29 12:50
Leftovers No More: Affect, Food, and Power in Recent Latin American Films on Domestic Work,rk, affect and power. This chapter analyzes the films . (2009) by Peruvian Claudia Llosa, . (2009) by Chilean Sebastián Silva and . (2015) by Brazilian Anna Muylaert as visual narrations that explore the relationship between live-in maids and employers. Focusing on the domestic dynamics in which thi作者: 細(xì)頸瓶 時(shí)間: 2025-3-29 16:01
,Serious Camp: Juan Gabriel’s Queer Repertoire in ,sparaging reviews by critics, Cosentino underscores the subversive qualities of the musical comedy that utilizes Juan Gabriel’s queer “repertoire” (Diana Taylor) to question household power dynamics that are tied to gender, race, and class in contemporary Mexico. The chapter analyzes the mise-en-scè作者: 裹住 時(shí)間: 2025-3-29 22:39
