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Not your mother's Latinas: Film representations for a new millennium.

机译:不是您母亲的拉丁裔:新世纪的电影作品。

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摘要

This dissertation seeks to contribute to film, feminist and Latino/a studies by exploring the construction and ideological implications of representations of Latinas in four recent, popular U.S. films: Girlfight (Kusama 2000), Maid in Manhattan (Wang 2002), Real Women Have Curves (Cardoso 2002) and Spanglish (Brooks 2004). These films were released following a time of tremendous growth in the population and the political and economic strength of the Latina/o community as well as a rise in popularity and visibility in the 1990s of entertainers like Selena and actresses such as Jennifer Lopez and Salma Hayek. Drawing on the critical concepts of hybridity, Latinidad, and Bakhtinian dialogism, I analyze these films from a cultural and historical perspective to consider whether and to what degree, assuming changes in the situation of Latinas/os in the 1990's, representations of Latinas have also changed. Specifically, in this dissertation I consider the ways in which the terrain of the Latina body is articulated in these films in relation to competing societal, cultural and familial conflicts, focusing on the body as a site of struggle where relationships collide, interact and are negotiated.;In this dissertation I argue that most of the representations of Latinas in these films defy easy categorization, featuring complex characters grappling with economic issues, intergenerational differences, abuse, mother-daughter relationships, notions of beauty, familial expectations and the very real tensions between Latina/o cultural beliefs and practices and the dominant Anglo culture of the United States. Specifically, I argue that narrative and visual representation of Latina bodies in these films reflects a change in the Latinas offered for consumption to film viewers, presenting us with what some critics have called 'emergent' Latinas: conflicted and multilayered representations that in some cases challenge dominant ideologies and offer new demonstrations of Latina agency.
机译:本论文旨在通过研究美国最近四部受欢迎的电影中的拉丁裔代表的建构和意识形态含义,为电影,女权主义者和拉丁裔/ a研究做出贡献。这些电影分别是:Girlfight(Kusama 2000),Mand in Manhattan(Wang 2002),Real Women Have曲线(Cardoso 2002)和Spanglish(布鲁克2004)。这些影片是在1990年代塞拉纳(Selena)等艺人以及詹妮弗·洛佩兹(Jennifer Lopez)和萨尔玛·海耶克(Salma Hayek)等女演员的人口激增,拉丁裔/ o社区的政治和经济实力以及人们的知名度和知名度提高之后发布的。借鉴混合性,拉丁裔和巴赫金主义对话的批判性概念,我从文化和历史的角度分析了这些电影,以考虑拉美裔在1990年代的处境变化,考虑是否也以及在何种程度上拉丁裔的代表性改变了。具体而言,在这篇论文中,我考虑了这些电影中与竞争的社会,文化和家庭冲突有关的拉丁人身体地形的表达方式,着眼于身体是关系碰撞,互动和协商的斗争场所。;在这篇论文中,我认为这些电影中大多数拉丁裔的表现都无济于事,其复杂的角色正面临着经济问题,代际差异,虐待,母女关系,美感,家庭期望以及非常真实的紧张局势拉美裔/拉丁文化信仰和习俗与美国主要的盎格鲁文化之间的关系。具体来说,我认为这些电影中拉丁裔的叙事和视觉表征反映了向电影观众提供的拉丁裔的消费变化,为我们提供了一些批评家称之为“新兴”拉丁裔的观点:冲突和多层次的表征在某些情况下会带来挑战主导的意识形态,并提供了拉丁美洲机构的新示范。

著录项

  • 作者

    Patrick, Jeannie Ann.;

  • 作者单位

    Michigan Technological University.;

  • 授予单位 Michigan Technological University.;
  • 学科 Womens Studies.;Cinema.;Hispanic American Studies.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 190 p.
  • 总页数 190
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 社会学;电影、电视艺术;
  • 关键词

  • 入库时间 2022-08-17 11:38:22

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