By Isabel Molina-Guzman
With photos of Jennifer Lopez’s butt and the United States Ferrera’s smile saturating nationwide and international tradition, Latina our bodies became an ubiquitous presence. harmful Curves lines the visibility of the Latina physique within the media and pop culture through reading a large diversity of renowned media together with information, media gossip, videos, tv information, and on-line viewers discussions.Isabel Molina-Guzm?n maps the ways that the Latina physique is gendered, sexualized, and racialized in the usa media utilizing a chain of attention-grabbing case reviews. The booklet examines tabloid headlines approximately Jennifer Lopez’s indomitable sexuality, the contested authenticity of Salma Hayek’s portrayal of Frida Kahlo within the motion picture Frida, and the USA Ferrera’s universally beautiful but racially sublimated grotesque Betty personality. risky Curves carves out a mediated terrain the place those racially ambiguous yet ethnically marked female our bodies promote every little thing from high fashion to tabloids.Through a cautious exam of the cultural tensions embedded within the visibility of Latina our bodies in usa media tradition, Molina-Guzm?n paints a nuanced portrait of the media’s position in shaping public wisdom approximately Latina identification and Latinidad, and the methods political and social forces form media representations.
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Additional info for Dangerous Curves: Latina Bodies in the Media (Critical Cultural Comunication)
Example text
The media’s early framing of Elisabet and Elián as political exiles also carried with it an assumption of the racial privilege and social status still accorded to Cuban refugees despite the influx of working-class Afro-Cubans during the 1980s and 1990s. Although working-class Afro-Cubans qualify for similar asylum status, they have had a much tougher time integrating into Miami and its Cuban enclave. 1. This Associated Press photo of a Little Havana mural was widely circulated in newspapers and in television news footage.
Adding to Elisabet’s maternal innocence is the scarcity of references to her personal, romantic, and sexual life, such as information about the man she was living with and possibly married to, Lazaro Muñero, one of the organizers of the illegal journey,32 or the birth of Elián years after her official divorce from Juan Miguel González. Reducing her to a maternal descriptor, the news media positioned her within longestablished popular archetypes of socially acceptable Latina femininity and domesticity, that of the self-sacrificing, almost virginal ethnic mother who gives up her happiness, in this instance her life, so that her child can obtain the “American Dream” of meritocracy and upward mobility.
S. Latina/o and Mexican media audience negotiations over the movie’s construction of Mexican ethnicity to further explore the limits of producing a consumable ethnic identity and the potential for symbolic ruptures over the mediation of Mexican and Latina identity. Audiences must negotiate the global demands for a consumable feminine Latinidad. S. Latina/o media, Mexican media, and online audience receptions of Frida. In particular, Mexican newspaper and IMDb (Internet Movie Database) audience discussions about Salma Hayek and Frida demonstrate the problematic nature of globally commodified media representations of gendered Latinidad and the limits of symbolic colonization by highlighting alternative constructions of ethnic and racial Latina/o identity.