By Isabel Molina-Guzman
With pictures of Jennifer Lopez’s butt and the US 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 examining a large variety of well known 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 sequence of attention-grabbing case experiences. The e-book 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 gruesome Betty personality. harmful Curves carves out a mediated terrain the place those racially ambiguous yet ethnically marked female our bodies promote every 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 function in shaping public wisdom approximately Latina identification and Latinidad, and the methods political and social forces form media representations.
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Extra resources for Dangerous Curves: Latina Bodies in the Media (Critical Cultural Comunication)
47 The religious tone of the images and the journalistic language gender the Elián news story by situating Elisabet and the Miami Cuban community within the signifiers of Catholic iconography most often associated with Latinas and Latinidad. Additionally, the journalistic emphasis on the melodrama surrounding Elián’s rescue harkened back to older, more traditional coverage of the Cuban immigration experience as unique and exceptional. S. Cuban sources in the mainstream media as the ultimate maternal and political sacrifice inherently different from the journey of less sympathetic Latina immigrants.
Her voice is too loud and her nails are too long, too red, too artificial to be middle-class. 2. In one of the most popular images after the federal raid on the Gonzálezes’ Little Havana home, the emotional toll on Marisleysis is visually apparent. S. Cuban community. Unlike Elisabet, who was always present in the news coverage through her absence, Marisleysis circulated in excess. It was this hyperbolized image of excess—often set in opposition to the grandmothers’ more demure matronly image—that defines Marisleysis as culturally, socially, and politically threatening.
Consequently, news coverage about Elisabet functioned in two ways: as emotional spectacle demanding discipline and as a contested but disciplined site of national ideologies. The figure of Elisabet was simultaneously central and peripheral to the news coverage. She was consistently nameless, subjectless, identified only through her biological relation to Elián. While doing research for this book, finding Elián’s mother’s name, much less its correct spelling, proved difficult. ”30 Her self-sacrificial life was mythologized through retellings in the mainstream media by exiled Cuban sources.
Dangerous Curves: Latina Bodies in the Media (Critical Cultural Comunication) by Isabel Molina-Guzman