eprintid: 10171223
rev_number: 6
eprint_status: archive
userid: 699
dir: disk0/10/17/12/23
datestamp: 2023-06-08 13:45:46
lastmod: 2023-06-08 13:45:46
status_changed: 2023-06-08 13:45:46
type: article
metadata_visibility: show
sword_depositor: 699
creators_name: Vázquez Rodríguez, Lucía Gloria
creators_name: Zurian, Francisco A
title: La representación cinematográfica de la mucama latinoamericana: La ciénaga (Lucrecia Martel, 2001) y Roma (Alfonso Cuarón, 2018)
ispublished: pub
divisions: UCL
divisions: B16
divisions: B14
divisions: J77
keywords: Latin American Cinema; Haptic Cinema; neo-colonialism; Lucrecia Martel; Alfonso Cuaron; slow cinema
note: © 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/].
abstract: 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.
date: 2022
date_type: published
publisher: Universidad Miguel Hernandez de Elche
official_url: https://doi.org/10.21134/mhjournal.v13i.1469
oa_status: green
full_text_type: pub
language: eng
primo: open
primo_central: open_green
verified: verified_manual
elements_id: 2027756
doi: 10.21134/mhjournal.v13i.1469
lyricists_name: Vazquez Rodriguez, Lucia Gloria
lyricists_id: LGVRO61
actors_name: Vazquez Rodriguez, Lucia Gloria
actors_id: LGVRO61
actors_role: owner
full_text_status: public
publication: Miguel Hernández Communication Journal
volume: 13
number: 1
pagerange: 101-122
citation:        Vázquez Rodríguez, Lucía Gloria;    Zurian, Francisco A;      (2022)    La representación cinematográfica de la mucama latinoamericana: La ciénaga (Lucrecia Martel, 2001) y Roma (Alfonso Cuarón, 2018).                   Miguel Hernández Communication Journal , 13  (1)   pp. 101-122.    10.21134/mhjournal.v13i.1469 <https://doi.org/10.21134/mhjournal.v13i.1469>.       Green open access   
 
document_url: https://discovery.ucl.ac.uk/id/eprint/10171223/1/La_representacion_cinematografica_de_la%20%281%29.pdf