TY  - JOUR
Y1  - 2022///
A1  - Vázquez Rodríguez, Lucía Gloria
A1  - Zurian, Francisco A
PB  - Universidad Miguel Hernandez de Elche
IS  - 1
TI  - La representación cinematográfica de la mucama latinoamericana: La ciénaga (Lucrecia Martel, 2001) y Roma (Alfonso Cuarón, 2018)
KW  - Latin American Cinema; Haptic Cinema; neo-colonialism; Lucrecia Martel; Alfonso Cuaron; slow cinema
SP  - 101
UR  - https://doi.org/10.21134/mhjournal.v13i.1469
VL  - 13
N2  - Recent Latin American cinema is increas-ingly interested in the representation of the invisibilized, neocolonialist and sexist nature of the existence of domestic ser-vantss amongst upper-class white families, one of the most widespread phenomena in the continent.  Implementing a qualita-tive approach that integrates as categories for the analysis the traits of haptic filmic language (Marks, 2000) and the time-im-age  typical  of  slow  cinema  (Deleuze, 1987), we argue the emergence of a new film genre in Latin America that places the figure of the maid in the formal, emo-tional and narrative center of the films, and that increasingly attracts more interest from film studies. In this regard, we analyze two complementing yet opposing visions of the relationship between domestic service and upper-class Latin American families: La ciénaga (Martel, 2001), which places the maid Isabel (Andrea López) on the visual margins of the filmic text, offering a critical view of the exploitative nature of domestic service; and Roma (Cuarón, 2018), whose nostalgic ap-proach locates Cleo (Yalitza Aparicio) at the center of the narrative while carefully avoiding any pretense to speak in place of her subaltern subjectivity.
EP  - 122
JF  - Miguel Hernández Communication Journal
AV  - public
ID  - discovery10171223
N1  - © The Authors 2023. Original content in this paper is licensed under the terms of the Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) - [https://creativecommons.org/licenses/by-sa/4.0/].
ER  -