Titlebook: Domestic Labor in Twenty-First Century Latin American Cinema; Elizabeth Osborne,Sofía Ruiz-Alfaro Book 2020 The Editor(s) (if applicable)

ALERT

Domestic Labor in Twenty-First Century Latin American Cinema

Hiatus

fiscal

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

visual-cortex

Ergots

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

Type-1-Diabetes

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

細(xì)頸瓶

,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

裹住