FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W20053846> ?p ?o ?g. }

• W20053846 endingPage "130" @default.
• W20053846 startingPage "119" @default.
• W20053846 abstract "Immigrant women from Latin America and the Caribbean are gradually populating the U.S. landscape through an incorporation within the most sacred social institution; the family unit. As it has been argued by Arlie Hochschild, Rachel Salazar Parrenas and Pierrette Hondagneu-Sotelo, among other cultural critics, globalization is witnessing a vast proliferation of women traveling from the Global South--including Central America, South America and the Caribbean--in order to provide for their families and to contribute to their developing economies through the use of remittances. Although this is not the only pattern of female migration, the transformation of the family unit has been deeply affected by the women who leave their families behind and/or by those who find themselves working as domesticas and house cleaners in the host cultures. (1) The documentary Maid in America broadcasted in PBS in 2005 and directed by Anayansi Prado is a example of the global and transnational phenomena invested in the mobilization of female bodies in search of a better life. Based on the lives of Telma and Eva--two Mexican women--and Judith--a Guatemalan mother--the documentary attempts to reflect the social injustices and sacrifices undergone by these women who have to survive in the new cultural scenario. Telma, Judith and Eva are but three of thousands of women who arrive at foreign soil undocumented and risking their lives as illegal citizens. Although this piece of work can be considered a feminist practice that engages the visual through images and voices of culturally invisible lives eager to promote social and political action, the repetitive embodiment of motherhood in which these bodies are inscribed is purportedly hyperbolic all throughout the documentary. By projecting ideal maternal bodies, these women are rendered productive, useful and necessary within the confinements of the U.S. nation and family. Instead of being bodies stuck in images of fear and threat to the purity and safety of the nation, the three women are represented as angels, easily assimilated to the host country, maternal heroines and protectors of the nation; they accurately exemplify the love extracted by the Global North. Along with these depictions of transnational women, I argue how an appropriation of emotions and affect that circulate among the protagonists and the spectators allows us to convey this idea of protection incarnated in the female bodies. In this sense, emotions and affect are pretty much circumscribed to femininity, and gender binaries are therefore conventionally reified. Given the lack of male emotional responsibility within the family unit and men's role as exclusively breadwinners, the documentary fails to call for a deep reorganization of gender roles within the family structure. Instead, it reinforces the image of the woman as the ideal mother of both her native and host countries. Moreover, the sign motherhood is mobilized through competing surrogate and biological figures. In the end, the maternal locus is more properly and effectively occupied by the biological mothers, as I will show in certain specific moments in the documentary. Also emotions as signs that circulate and stick onto bodies reinstall a conservative ideology that correlates the female colonial body with the victimized other. Ina similar fashion, the audience feels compassion and empathy for these women whose self-sacrifice places them into the space of the ideal women--mothers--of the U.S. nation. Visual representations of domesticas have populated the U.S. media for the last couple of decades. As Yajaria Padilla argues un her article Domesticating Rosario: Conflicting Representations of the Latina Maid in the U.S. Media, we encounter films such as Down and Down and Out in Beverly Hills (1986), As Good as It Gets (1997), Spanglish (2004) and Babel (2006), for instance, that project an stereotypical image of the good Latina maid as the embodiment of maternity and of the nobel immigrant (1) or, on the other hand, the beautiful and sought-after exotic Other (1). …" @default.
• W20053846 created "2016-06-24" @default.
• W20053846 creator A5069745699 @default.
• W20053846 date "2013-05-01" @default.
• W20053846 modified "2023-09-23" @default.
• W20053846 title "Globalizing the Care Chain: Representations of Latinas in Maid in America" @default.
• W20053846 cites W1531347886 @default.
• W20053846 cites W1573469073 @default.
• W20053846 cites W1985356369 @default.
• W20053846 cites W1986770874 @default.
• W20053846 cites W1998336453 @default.
• W20053846 cites W2022092689 @default.
• W20053846 cites W2024980705 @default.
• W20053846 cites W2079841161 @default.
• W20053846 cites W2475969045 @default.
• W20053846 cites W25296474 @default.
• W20053846 cites W2886253998 @default.
• W20053846 cites W3216195306 @default.
• W20053846 cites W605698456 @default.
• W20053846 hasPublicationYear "2013" @default.
• W20053846 type Work @default.
• W20053846 sameAs 20053846 @default.
• W20053846 citedByCount "0" @default.
• W20053846 crossrefType "journal-article" @default.
• W20053846 hasAuthorship W20053846A5069745699 @default.
• W20053846 hasConcept C107993555 @default.
• W20053846 hasConcept C122637931 @default.
• W20053846 hasConcept C144024400 @default.
• W20053846 hasConcept C145420912 @default.
• W20053846 hasConcept C15744967 @default.
• W20053846 hasConcept C158886217 @default.
• W20053846 hasConcept C17744445 @default.
• W20053846 hasConcept C199539241 @default.
• W20053846 hasConcept C2119116 @default.
• W20053846 hasConcept C2780510313 @default.
• W20053846 hasConcept C36289849 @default.
• W20053846 hasConcept C70036468 @default.
• W20053846 hasConceptScore W20053846C107993555 @default.
• W20053846 hasConceptScore W20053846C122637931 @default.
• W20053846 hasConceptScore W20053846C144024400 @default.
• W20053846 hasConceptScore W20053846C145420912 @default.
• W20053846 hasConceptScore W20053846C15744967 @default.
• W20053846 hasConceptScore W20053846C158886217 @default.
• W20053846 hasConceptScore W20053846C17744445 @default.
• W20053846 hasConceptScore W20053846C199539241 @default.
• W20053846 hasConceptScore W20053846C2119116 @default.
• W20053846 hasConceptScore W20053846C2780510313 @default.
• W20053846 hasConceptScore W20053846C36289849 @default.
• W20053846 hasConceptScore W20053846C70036468 @default.
• W20053846 hasIssue "1" @default.
• W20053846 hasLocation W200538461 @default.
• W20053846 hasOpenAccess W20053846 @default.
• W20053846 hasPrimaryLocation W200538461 @default.
• W20053846 hasRelatedWork W127227336 @default.
• W20053846 hasRelatedWork W129912975 @default.
• W20053846 hasRelatedWork W1488379892 @default.
• W20053846 hasRelatedWork W1538578585 @default.
• W20053846 hasRelatedWork W1548560384 @default.
• W20053846 hasRelatedWork W1561889271 @default.
• W20053846 hasRelatedWork W1583748394 @default.
• W20053846 hasRelatedWork W1586648402 @default.
• W20053846 hasRelatedWork W2003060323 @default.
• W20053846 hasRelatedWork W2030786795 @default.
• W20053846 hasRelatedWork W2058577380 @default.
• W20053846 hasRelatedWork W2063064289 @default.
• W20053846 hasRelatedWork W2091220894 @default.
• W20053846 hasRelatedWork W225131282 @default.
• W20053846 hasRelatedWork W226515889 @default.
• W20053846 hasRelatedWork W2480279536 @default.
• W20053846 hasRelatedWork W2544863248 @default.
• W20053846 hasRelatedWork W2600346769 @default.
• W20053846 hasRelatedWork W2607532259 @default.
• W20053846 hasRelatedWork W2618432332 @default.
• W20053846 hasVolume "42" @default.
• W20053846 isParatext "false" @default.
• W20053846 isRetracted "false" @default.
• W20053846 magId "20053846" @default.
• W20053846 workType "article" @default.