乱砍
发表于 2025-3-25 06:51:28
(Claudia Llosa. 2006, Perú)mphasizes the breaking of the conventional rules of modesty and conservatism by imagining a god that turns his back on his children so they can play in absolute freedom as they break all social and familial contracts. Freedom, then, is what is desired by Madeinusa and what she pursues without regrets.
伪书
发表于 2025-3-25 11:17:08
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ostensible
发表于 2025-3-25 11:45:31
(Dir. Leticia Tonos. 2011, República Dominicana)ing a safe space where she is able to reconcile with her father. Manhood is questioned through humor; womanhood is developed through survival. By creating a masculine crisis and a thriving female character, Tonos is subverting the patriarchal narrative without condemning one side or the other.
大量
发表于 2025-3-25 17:12:23
(Frances Negrón-Muntaner. 1994, U.S./Puerto Rico) in Philadelphia. The “history” represented in the film is fragmented, interrupted, and artificial as any other cultural production, but it has a conscience of artificiality that allows the spectator to trace a new kind of national identity, queering the national performance in a hopeful light for inclusion.
covert
发表于 2025-3-25 23:19:33
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staging
发表于 2025-3-26 01:33:55
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Arctic
发表于 2025-3-26 04:49:24
(Paola Mendoza and Gloria La Morte. 2009, USA)orld. The aspects analyzed in this chapter synthesize Mendoza and La Morte’s vision of this particular story of strength and resiliency via a personal gaze that explores an immigrant woman’s story of survival.
敲诈
发表于 2025-3-26 12:12:10
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关心
发表于 2025-3-26 15:26:27
Book 2024tween individual agency, choices, and freedom from the communities represented. The book‘s organization in three parts reflects a common core of the Latin American and U.S. Latinx experiences, unifying all these films in the hope of creating a better understanding of these geographical regions and their people.
向外供接触
发表于 2025-3-26 20:39:08
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