{"id":6893,"date":"2019-07-31T13:29:51","date_gmt":"2019-07-31T12:29:51","guid":{"rendered":"https:\/\/www.imex-revista.com\/xvi-haunted-bodies-female-migrant\/"},"modified":"2021-06-01T12:06:15","modified_gmt":"2021-06-01T11:06:15","slug":"xvi-haunted-bodies-female-migrant","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xvi-haunted-bodies-female-migrant\/","title":{"rendered":"XVI. Olivia Cosentino \u2013 Haunted Bodies"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6754\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Edici\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6810\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Art\u00edculo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Haunted Bodies: Spectrality, Gender Violence and the Central American Female Migrant in Recent Mexican Cinema (pp. 41-54; DOI: 10.23692\/iMex.16.3)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F2_OC_Haunted-bodies-female-migrant_iMex16.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/2_OC_Haunted-bodies-female-migrant_iMex16.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Olivia Cosentino M.A.<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-6716\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Cosentino_iMex16.png\" alt=\"\" width=\"150\" height=\"220\" \/><\/span><span style=\"color: #b0b0b0;\">Olivia Cosentino is a PhD student in Latin American Literary and Cultural Studies at The Ohio State University. She specializes in 20<sup>th<\/sup> and 21<sup>st<\/sup> Mexican cinema and culture. Olivia is particularly interested in gender, violence and affect theory. She has published on the contemporary Mexican youth road film and 20<sup>th<\/sup> century mass-media paths to female stardom in edited volumes. Her article on Lucerito and 1980s Mexican media appeared in <em>The Velvet Light Trap <\/em>(2016) and she has written book reviews for <em>Revista de Estudios Hispanicos <\/em>and <em>Studies in Spanish and Latin American Cinemas<\/em>. Her essay on <em>\u00bfQu\u00e9 le dijiste a Dios?<\/em>, intimate labor and queer camp is forthcoming in <em>Domestic Labor in 21<sup>st<\/sup> Century Latin American Cinema <\/em>(Palgrave Macmillan).<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1532705295616-59657-6df5&#8243; tab_id=&#8221;1547557827331-10&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">The ghostly, the spectral and the idea of haunting as theoretical framework has been previously used to discuss violence(s) in Latin America (Petersen \/ Ribas-Casasayas 2016, Hopenhayn 2002) as well as gendered violence in Mexico (Petersen 2016). I argue that the spectral allows recent Mexican films to nuance the seen and unseen processes of violence that Central American female migrant bodies experience and the reactionary performances those bodies enact to counter the violence. I first discuss Guatemalan migrant Sara\u2019s gender performance and transformation in <em>La jaula de oro <\/em>(Quemada-D\u00edez 2013) as a result of looming gendered violence. <em>La vida precoz y breve de Sabina Rivas <\/em>(Mandoki 2014) is examined in tandem with journalist \u00d3scar Mart\u00ednez\u2019s metaphor of sex trafficking as &#8220;fantasma&#8221; and current transnational feminist debates on consent and victimhood. <em>La vida precoz <\/em>provides a complex vision of Honduran migrant Sabina\u2019s &#8220;choice&#8221; to perform sex work in the <em>zonas de tolerancia <\/em>on the Mexico-Guatemala border where the specter of sex slavery and regional gender violence constantly lurks. The article concludes with a reflection on the implications of spectrality, gendered violence and victimhood as it relates to current asylum policy.\u00a0<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1532705295639-39657-6df5&#8243; tab_id=&#8221;1547557827370-1&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Lo fantasmal, lo espectral y la idea de aquello fantasmag\u00f3rico que nos acecha como marco te\u00f3rico se ha usado previamente para considerar la(s) violencia(s) en Am\u00e9rica Latina (Petersen \/ Ribas-Casasayas 2016, Hopenhayn 2002) incluyendo la violencia de g\u00e9nero en M\u00e9xico (Petersen 2016). Propongo que en el cine mexicano contempor\u00e1neo, lo espectral facilita la matizaci\u00f3n de los procesos visibles e invisibles de la violencia que los cuerpos de las migrantes centroamericanas experimentan y las performances reaccionarias que estos cuerpos realizan para oponerse a la violencia. Primero, considero la performance de g\u00e9nero de la migrante guatemalteca, Sara, y su transformaci\u00f3n en <em>La jaula de oro <\/em>(Quemada-D\u00edez 2013) como un resultado de la inminente violencia de g\u00e9nero. Asimismo, se examina <em>La vida precoz y breve de Sabina Rivas <\/em>(Mandoki 2014) en conjunto con la met\u00e1fora del periodista \u00d3scar Mart\u00ednez sobre la trata como &#8220;fantasma&#8221; y los debates feministas transnacionales del consentimiento y la figura de la v\u00edctima. <em>La vida precoz <\/em>ofrece una visi\u00f3n compleja de la &#8220;elecci\u00f3n&#8221; de Sabina, migrante hondure\u00f1a, para realizar el trabajo sexual en las zonas de tolerancia en la frontera M\u00e9xico-Guatemala donde el fantasma de la trata y la violencia de g\u00e9nero de la regi\u00f3n acechan. Este art\u00edculo concluye con una reflexi\u00f3n sobre las implicaciones de la espectralidad, la violencia del genero y el victimismo con respecto a la pol\u00edtica actual del asilo en los EEUU. \u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b016 | M\u00e9xico espectral&#8221; id=&#8221;1532705295697-49657-6df5&#8243; tab_id=&#8221;1547557827412-1&#8243;][vc_column_text]\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Alberto Ribas-Casasayas - Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-breaking-silences-revealing-ghosts\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Amanda Petersen \u2013 Breaking Silences and Revealing Ghosts<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-haunted-bodies-female-migrant\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Olivia Cosentino \u2013 Haunted Bodies<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-espectros-feminicidio\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Elizabeth Villalobos \u2013 Espectros del feminicidio<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-necroescrituras-fantologicas\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Roberto Cruz Arzabal \u2013 Necroescrituras fantol\u00f3gicas<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-espectralidad-cibernetica\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>David Dalton \u2013 Una espectralidad cibern\u00e9tica<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-darknetworks-pathogens\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Carmen Serrano \u2013 Dark Networks and Pathogens<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-existencia-sobrenatural-difuntos\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Alma Barbosa S\u00e1nchez \u2013 La existencia sobrenatural de los difuntos<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-convergencia-voces-hnahnu\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Milvet Alonso \u2013 Convergencia de voces h\u00f1\u00e4h\u00f1u<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-jewish-belonging-mourning\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Charlotte Gartenberg \u2013 Jewish Belonging and Mourning<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvi-resenas\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Reviews<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":13217,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,1,1384],"tags":[1458,1359,1459,1362,1392,1460],"class_list":["post-6893","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-uncategorized","category-xvi-spectral-mexico","tag-central-american-migration","tag-cine-mexicano","tag-mexican-cinema","tag-olivia-cosentino","tag-spectrality","tag-victim"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XVI. 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