Titlebook: Latinidad and Film; Queer and Feminist C Dania Abreu-Torres,Rosana Blanco-Cano,Rita E. Urqu Book 2024 The Editor(s) (if applicable) and The

亂砍

(Claudia Llosa. 2006, Perú)mphasizes the breaking of the conventional rules of modesty and conservatism by imagining a god that turns his back on his children so they can play in absolute freedom as they break all social and familial contracts. Freedom, then, is what is desired by Madeinusa and what she pursues without regrets.

偽書(shū)

ostensible

(Dir. Leticia Tonos. 2011, República Dominicana)ing a safe space where she is able to reconcile with her father. Manhood is questioned through humor; womanhood is developed through survival. By creating a masculine crisis and a thriving female character, Tonos is subverting the patriarchal narrative without condemning one side or the other.

大量

(Frances Negrón-Muntaner. 1994, U.S./Puerto Rico) in Philadelphia. The “history” represented in the film is fragmented, interrupted, and artificial as any other cultural production, but it has a conscience of artificiality that allows the spectator to trace a new kind of national identity, queering the national performance in a hopeful light for inclusion.

covert

staging

Arctic

(Paola Mendoza and Gloria La Morte. 2009, USA)orld. The aspects analyzed in this chapter synthesize Mendoza and La Morte’s vision of this particular story of strength and resiliency via a personal gaze that explores an immigrant woman’s story of survival.

敲詐

關(guān)心

Book 2024tween individual agency, choices, and freedom from the communities represented. The book‘s organization in three parts reflects a common core of the Latin American and U.S. Latinx experiences, unifying all these films in the hope of creating a better understanding of these geographical regions and their people.?

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