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This paper explores the psychological experiences of domestic workers in three contemporary Latin American films: Roma (Mexico, 2018), Crímenes de familia (Argentina, 2020) and Que Horas Ela Volta? (Brazil, 2015). Specifically, the motherhood of these three protagonists is explored and analyzed using psychological research that pertains to motherhood, trauma, and

This paper explores the psychological experiences of domestic workers in three contemporary Latin American films: Roma (Mexico, 2018), Crímenes de familia (Argentina, 2020) and Que Horas Ela Volta? (Brazil, 2015). Specifically, the motherhood of these three protagonists is explored and analyzed using psychological research that pertains to motherhood, trauma, and the relationships between domestic workers and the families that employ them. This paper reveals that contemporary Latin American cinema portrays domestic workers as having negative experiences of motherhood as a direct result of their occupation and proposes for further protections, policy change, and psychological research to take place for domestic workers in Latin America and beyond.

ContributorsSamuels, Alana D (Author) / Tompkins, Cynthia (Thesis director) / Bezerra, Ligia (Committee member) / School of International Letters and Cultures (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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El presente estudio aborda aspectos de la monstruosidad desde una perspectiva integral y transdisciplinaria que combina los estudios poscoloniales, postmodernos, queer pero sobre todo postfeministas en el campo de la producción cultural latinoamericana. Esta combinación permite poner en perspectiva la posibilidades de resistencia al tiempo y espacio en que coaccionan

El presente estudio aborda aspectos de la monstruosidad desde una perspectiva integral y transdisciplinaria que combina los estudios poscoloniales, postmodernos, queer pero sobre todo postfeministas en el campo de la producción cultural latinoamericana. Esta combinación permite poner en perspectiva la posibilidades de resistencia al tiempo y espacio en que coaccionan los personajes protagónicos de las obras a analizar: los filmes La teta asustada (2009) de Claudia Llosa y la ópera prima de Rosario García Montero, Las malas intenciones (2011); de igual forma se trabaja con la colección de cuentos Falo de Mulher (2002) y el cuento "Mãe o cacete" (2004) de Ivanna Arruda Leite; y por último, un estudio de la leyenda de la X’tabay perteneciente al sureste mexicano junto con un análisis discursivo de la cobertura de los feminicidios por parte de la prensa yucateca. La monstruosidad al interior de este trabajo será entendida como una posibilidad de aesthet(h)ical encounter, el cual combina, como su nombre lo indica, poéticas, estéticas, políticas y éticas al respecto de sujetos/personajes que se encuentran en resistencia en cuanto al acceso de la subjetividad y en contraposición a, lo denominado como, el tiempo y el espacio del monstruo.
ContributorsOrtiz Manzanilla, Roberto de Jesús (Author) / Foster, David W (Thesis advisor) / Tompkins, Cynthia M (Committee member) / Bezerra, Ligia (Committee member) / Arizona State University (Publisher)
Created2019
Description
This dissertation proposes a re-evaluation of the films of Caliwood—a close-knit group of film fanatics who produced socially-minded independent cinema in Cali, Colombia—and the group’s contribution towards a national film industry. Focusing primarily on the works of Luis Ospina and Carlos Mayolo during the period ranging between 1971 and 1991,

This dissertation proposes a re-evaluation of the films of Caliwood—a close-knit group of film fanatics who produced socially-minded independent cinema in Cali, Colombia—and the group’s contribution towards a national film industry. Focusing primarily on the works of Luis Ospina and Carlos Mayolo during the period ranging between 1971 and 1991, this study analyzes six key films—Oiga vea! (1972), Cali de Película (1973), Agarrando Pueblo (1977), Pura Sangre (1982), Carne de tu carne (1983)—which showcase the evolution of the group’s production from experimental documentaries to pseudo-documentaries and fictional films. Additionally, It All Started at the End (2015) is analyzed because it is the last film produced by Luis Ospina and it showcases the history of the group from his own perspective. In totality, these films represent a political stance derived from the tenets of the Third Cinema movement—a call for a revolutionary cinema which reverberated throughout Latin America—which denounces neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment for profit. Furthermore, this comprehensive analysis of Caliwood’s films covers a representative sample of their film legacy, as well as their critique of socio-political and cultural issues in Colombia. The reflections yielded from this study propose a reframing of Colombian film history and acknowledges the importance of Ospina’s and Mayolo’s contribution to the development of a “national” film tradition in Colombia.
ContributorsBonilla-Cirocco, Cindy Michelle (Author) / Tompkins, Cynthia (Thesis advisor) / Bezerra, Ligia (Committee member) / García Fernández, Carlos J (Committee member) / Arizona State University (Publisher)
Created2020