Dangerous Curves: Latina Bodies in the Media (Critical by Isabel Molina-Guzman

By Isabel Molina-Guzman

With pictures of Jennifer Lopez’s butt and the USA Ferrera’s smile saturating nationwide and international tradition, Latina our bodies became an ubiquitous presence. risky Curves strains the visibility of the Latina physique within the media and pop culture by means of studying a wide variety of well known media together with information, media gossip, video clips, 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 interesting case reports. 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 US 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 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 id and Latinidad, and the methods political and social forces form media representations.

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80 The story could have paraphrased Marisleysis. However, like all broadcast media, it was precisely these exaggerated displays of emotion that were common to the coverage of Marisleysis. Because the audience was only privy to a few seconds of what was probably a lengthy news conference, the selected sound bite became significant. Implied in her statement was the suggestion that the exile Cuban community was not going to legally or physically allow Elián to be sent back to Cuba. S.

The third photograph shows Elisabet, Elián, and his biological father, Juan Miguel González. It is a classic family portrait, one that elides the more complicated sexual politics of her life. In her conservative attire, wearing little or no makeup, Elisabet presents in all three images simply as mother, not as worker, daughter, wife, or lover. 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.

ImmigraSaving Elián | 31 tion practices and policies. However, because immigration laws only provide for adult children, there is no consistent policy to deal with family reunification in the case of minor children. S. -born child. Juan Miguel González’s paternal bid for custody of his child was privileged, and Arellano was left with an awful decision—leave her child in the only country he had ever known or take him to a country whose language he didn’t speak. S. S. 38 Arellano was apprehended and repatriated quietly without the media spectacle that surrounded Elián, and few outside of Univisión audiences and the Latina/o community have heard of her case.

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