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

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书目名称Domestic Labor in Twenty-First Century Latin American Cinema
编辑Elizabeth Osborne,Sofía Ruiz-Alfaro
视频video
概述The first book-length study of the representation of female domestic labor in Latin American film.Includes analyses of films from Mexico, Colombia, Perú, Chile, Argentina, and Brazil.Explores how figu
图书封面Titlebook: Domestic Labor in Twenty-First Century Latin American Cinema;  Elizabeth Osborne,Sofía Ruiz-Alfaro Book 2020 The Editor(s) (if applicable)
描述.This volume explores the character of the domestic worker in twenty-first century Latin American cinema and analyzes how recent filmic representations 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 contests the hierarchical power structures within the family dynamics and new socioeconomic orders found in contemporary Latin America...Readers will find a variety of representations across the continent as well as transnational commonalities of the cinematic figure and role of the housemaid, including the negotiation of a multilayered politics of affection in the framework of prevalent paternalism, and the complex and contradictory dynamic between private and public spaces, where domestic paid labor occupies a central role in maintaining gender, class, and ethnic inequalities..
出版日期Book 2020
关键词Domestic Work; Latin American Film; Women in Film; Affect in Film; Female Domestic Labor
版次1
doihttps://doi.org/10.1007/978-3-030-33296-9
isbn_softcover978-3-030-33298-3
isbn_ebook978-3-030-33296-9
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
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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
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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
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