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.
Preview |
PDF
La_representacion_cinematografica_de_la (1).pdf - Other Download (685kB) | Preview |
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.
| Type: | Article |
|---|---|
| Title: | La representación cinematográfica de la mucama latinoamericana: La ciénaga (Lucrecia Martel, 2001) y Roma (Alfonso Cuarón, 2018) |
| Open access status: | An open access version is available from UCL Discovery |
| DOI: | 10.21134/mhjournal.v13i.1469 |
| Publisher version: | https://doi.org/10.21134/mhjournal.v13i.1469 |
| Language: | English |
| Additional information: | © 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/]. |
| Keywords: | Latin American Cinema; Haptic Cinema; neo-colonialism; Lucrecia Martel; Alfonso Cuaron; slow cinema |
| UCL classification: | UCL UCL > Provost and Vice Provost Offices > School of Education UCL > Provost and Vice Provost Offices > School of Education > UCL Institute of Education UCL > Provost and Vice Provost Offices > School of Education > UCL Institute of Education > IOE - Culture, Communication and Media |
| URI: | https://discovery.ucl.ac.uk/id/eprint/10171223 |
Loading...
Loading...Loading...| 1. |  United States | 7 |
| 2. |  Argentina | 6 |
| 3. |  China | 4 |
| 4. |  United Kingdom | 4 |
| 5. |  Germany | 3 |
| 6. |  Netherlands | 3 |
| 7. |  Spain | 2 |
| 8. |  Romania | 2 |
| 9. |  Sweden | 2 |
| 10. |  Russian Federation | 1 |
Archive Staff Only
 |
View Item |
