The cinematic representation of the Latin American maid: La ciénaga (Lucrecia Martel, 2001) and Roma (Alfonso Cuarón, 2018)
Main Article Content
Abstract
Recent Latin American cinema is increasingly producing cinematic representations of the invisibilized, neocolonialist and sexist nature of one of the most widespread phenomena in the continent: the existence of domestic service among upper-class white families. With a qualitative approach that integrates as categories of analysis the characteristics of haptic filmic language defined by Laura Marks (2002) and the image-time characteristic 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, emotional and narrative center of the films (Shaw, 2017), 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 margins of the filmic text, offering a critical view of the exploitative nature of domestic service; and Roma (Cuarón, 2018), whose nostalgic approach locates Cleo (Yalitza Aparicio) at the center of the narrative while carefully avoiding any pretense to speak in place of her subaltern subjectivity.
Downloads
Article Details
Issue
Section
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
Miguel Hernández Communication Journal is an open access magazine. To publish on MHCJ, the authors accept the following terms:
- The authors will retain their copyright and guarantee the journal the right to first publish their work, which will be simultaneously subject to the Creative Commons Atribución/Reconocimiento-CompartirIgual 4.0 Internacional, which allows third parties share the work as long as its author and his first publication in this magazine are indicated.
- Authors may adopt other non-exclusive license agreements for the distribution of the version of the published work (eg, deposit it in an institutional telematic archive or publish it in a monographic volume) provided that the initial publication in this journal is indicated .
- Authors are allowed and recommended to disseminate their work through the Internet (e.g., in institutional telematic archives or on their website) before and during the submission process, which can produce interesting exchanges and increase citations. of the published work. (See The effect of open access).
- The document RESIGNATION OF PERCEPTION OF BENEFITS OF COPYRIGHT is intended for the print publication of MHCJ by the UNIVERSITAS publishing house. Both authors and publishers renounce the collection of economic benefits, if any, when the aforementioned publisher takes over the entire cost of printing, distribution and dissemination.
How to Cite
References
Agamben, G. (1996). La comunidad que viene. Valencia: Pre-textos.
Ahmed, S. (2006). Queer phenomenology. Durham: Duke University Press.
Amado, A. (2006). Velocidades, generaciones y utopías: a propósito de La ciénaga, de Lucrecia Martel. Alceu, 6(12), 48-56.
Barker, C. (2000). Cultural studies: Theory and practice. SAGE.
Corro Penjean, Pablo (2012). Retóricas del cine chileno. Ensayos con el realismo, Santiago: Cuarto propio.
Deleuze, G. (1987) [1985]. La imagen-tiempo. Barcelona: Paidós.
Çaglayan, O. E. (2014). Screening boredom: the history and aesthetics of slow cinema. Tesis doctoral, Universidad de Kent
Dillon, A. (2014). Figuras de la crisis en el cine de Lucrecia Martel. Questión. Revista especializada en Periodismo y Comunicación, 44(1), 52-66.
Felten, U. (2014). El nuevo cine de mujeres de Latinoamérica: observaciones en torno a la poética transgresiva en La ciénaga de Lucrecia Martel. Área Abierta, 14(3), número monográfico “Feminismo, estudios sobre mujeres y cultura audiovisual“, 80-97. http://dx.doi.org/10.5209/rev_ARAB.2014.v14.n3.46427.
Flanagan, M. (2012). 'Slow Cinema': Temporality and Style in Contemporary Art and Experimental Film. Tesis Doctoral, Universidad de Exeter.
Gaudrealt, A. y Jost, F. (1995). El relato cinematográfico. Cine y Narratología. Barcelona: Paidós.
Irigaray, Luce (1985). This Sex Which is Not One. Traducido por Catherine Porter. Nueva York: Cornell University Press.
León Frías, I. (2021). Una aproximación al análisis audiovisual y narrativo de la película Roma. InMediaciones de la Comunicación, 16(1), 113-133. DOI: http://doi.org.10.18861/ic.2021.16.1.3101.
López-Agulló, J. M. (2020). La forma neorrealista en Roma (Alfonso Cuarón, 2018). En A. Pérez Adroher, M. T. López de la Vieja de la Torre y E. Hernández Martínez (Eds.), Derechos Humanos ante los nuevos desafíos de la globalización. Madrid: Dykinson.
Lury, K. (2005). The child in film and television: Introduction. Screen, 46(3), 307–314.
Margulis, M. y otros (1999). La segregación negada. Cultura y discriminación social. Buenos Aires: Biblos.
Martin, D. (2016). The Cinema of Lucrecia Martel. Manchester: Manchester University Press.
Martinez-Cano, F. (2020). El largometraje Roma como retrato y herramienta prosocial a través de la práctica cinematográfica. En Derechos Humanos ante los nuevos desafíos de la globalización, pp. 520-539.
Martins, L. (2011). En contra de contar historias. Cuerpos e imágenes hápticas en el cine argentino (Lisandro Alonso y Lucrecia Martel). Revista de crítica literaria latinoamericana, 73, 401-420.
Marks, L. U. (2002). Touch: Sensuous theory and multisensory media. Minneapolis: University of Minnesota Press.
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6–18.
Osborne, E. y Ruiz-Alfaro, S. (2020). Domestic Labor in Twenty-First Century Latin American Cinema. Nueva York: Springer International Publishing.
Oubiña, D. (2008). Construcción sobre los márgenes: itinerarios del nuevo cine independiente en América Latina. En E. Russo (Ed.), Hacer cine. Producción audiovisual en América Latina. Buenos Aires: Paidós.
---. (2009). Estudio crítico sobre “La ciénaga”. Buenos Aires: Picnic Editorial.
Podalsky, L. (2011). The Politics of Affect and Emotion in Contemporary Latin American Cinema: Argentina, Brazil, Cuba, and Mexico. Springer.
Rangil, V. (2005). Otro punto de vista. Mujer y cine en Argentina. Rosario: Beatriz Viterbo.
Rich, R. B. (2013). New Queer Cinema: The Director’s Cut. Durham: Duke University Press.
Ríos, H, (2008). La poética de los sentidos en los filmes de Lucrecia Martel. Atenea, 28(2), 9–22.
Schindel, E. (2019). Martel, Lucrecia (2017). Zama. Película, y Cuarón, Alfonso (2018). Roma. Película. Papeles del CEIC, 64, 1-9.
Schoonover, K. (2012). Wastrels of time: Slow Cinema's laboring body, the political spectator, and the queer. Framework: The Journal of Cinema and Media, 53(1), 65-78.
Shaw, D. (2017). ‘Intimacy and Distance'-domestic servants in Latin American women’s cinema: La mujer sin cabeza and El niño pez. In Latin American Women Filmmakers: Production, Politics, Poetics (pp. 123-148). Londres: IB Tauris.
---. (24 de diciembre de 2018). Special Dossier on Roma: Children of Women? Alfonso Cuarón’s Love Letter to his Nana. Mediático. Recuperado de: https://reframe.sussex.ac.uk/mediatico/2018/12/24/special-dossier-on-roma-alfonso-cuarons-love-letter-to-his-nana/.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Spivak, G. C. (2002). ¿Puede hablar la subalterna?. Asparkía: investigació feminista, 13, 207-214.
Vázquez-Rodríguez, L. G. y García-Nieto, E. (2020). Manifestaciones del cine lento en la película Roma (2018), de Alfonso Cuarón. Cleo en los márgenes, Cleo en el centro. En Derechos Humanos ante los nuevos desafíos de la globalización.
Veliz, M. (2017). Figuraciones de la otredad en el cine latinoamericano contemporáneo. Imagofagia, 15. Recuperado de: http://asaeca.org/imagofagia/index.php/imagofagia/article/view/1291 (Consultado el 14/12/2018).