{"id":7866,"date":"2020-02-17T12:51:48","date_gmt":"2020-02-17T11:51:48","guid":{"rendered":"https:\/\/www.imex-revista.com\/xvii-pantelions-transborderscapes\/"},"modified":"2021-06-01T12:06:02","modified_gmt":"2021-06-01T11:06:02","slug":"xvii-pantelions-transborderscapes","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xvii-pantelions-transborderscapes\/","title":{"rendered":"Heidi Denzel de Tirado \u2013 Pantelion\u2019s Transborderscapes"},"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\/7255\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/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\/7535\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/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;\"><span style=\"color: #b0b0b0;\"><strong>Pantelion&#8217;s &#8216;Transborderscapes&#8217;. Borders, Gender and Genre in <\/strong><em><strong>No se aceptan<\/strong> <\/em><strong><em>devoluciones <\/em>and <em>Pulling Strings<\/em> (pp. 50-67; DOI: 10.23692\/iMex.17.4)<\/strong><\/span><\/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%2F3_HDT_Pantelions-Transborderscapes_iMex17.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\/3_HDT_Pantelions-Transborderscapes_iMex17.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;\">Heidi Denzel de Tirado<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-7154 size-full\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Denzel-de-Tirado_iMex17.jpg\" alt=\"\" width=\"136\" height=\"200\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Heidi Denzel de Tirado is Visiting Associate Professor at Dartmouth College and has taught classes in Comparative Literature, Intercultural Communication and Film and Media Studies at <em>Freie Universit\u00e4t Berlin<\/em>, <em>Universiteit van Amsterdam<\/em> and <em>Georgia State University<\/em>. Author of the monography <em>Biographische Fiktionen: Das Paradigma Denis Diderot:<\/em> <em>1765-2005<\/em> (2008) and co-editor of the special issue <em>Framing Islam: Faith, Fascination, and Fear in Twenty-First-Century German Culture<\/em> (Colloquia Germanica, 2017, with Faye Stewart), she published several articles on border films, ethnographic sitcoms, media monitoring and media activism. In her ongoing book project <em>Border(e)scapes: The Representation of Immigrants and Refugees in 21st Century Film<\/em> she compares international films on immigration in order to define new subgenres of border films.<\/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;1532705295616-53d7d-8e03&#8243; tab_id=&#8221;1580125134478-0&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">This essay concentrates on two bilingual immigration films, both of which conclude in a happy ending on the southern side of the border: <em>No se aceptan devoluciones \/ Instructions not Included<\/em> (Eugenio Derbez, 2013) and <em>Pulling<\/em> <em>Strings <\/em><em>\/ <\/em><em>Amor<\/em> <em>a<\/em> <em>Primer<\/em> <em>Visa<\/em> (Pitipol Ybarra, 2013) by the transborder media network Pantelion Films. In the context of cultural and economic politics of Latinx media within media, I examine the production and distribution company Pantelion Films as a &#8216;borderscaping&#8217; agent, which envisions melodramatic and comic solutions for common problems faced by Latino migrants and their children. Here, I discuss how Pantelion&#8217;s highly intertextual films aim to reach an international audience through the construction and deconstruction of cinematic clich\u00e9s and mental and physical boundaries. In my analysis, I assess their transbordering aesthetics and narratives and define the concept of cinematic &#8216;transborderscapes&#8217;. Corresponding with &#8216;borderscapes&#8217; \u2013 which are more concerned with the restrictions in people&#8217;s mind than with the ones on the ground \u2013, &#8216;transborderscapes&#8217; are constantly established and re-established through narratives, images and imaginations, but also focus on the crossing of geographical and linguistic boundaries and thus convey double, multifaceted perspectives, world views and memories from both sides of the border.\u00a0<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1532705295639-33d7d-8e03&#8243; tab_id=&#8221;1580125134518-1&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Este ensayo se centra en dos pel\u00edculas biling\u00fces sobre la inmigraci\u00f3n a los Estados Unidos que concluyen en un final feliz en el lado sur de la frontera: <em>No se aceptan devoluciones<\/em> \/ <em>Instructions not Included <\/em>(Eugenio Derbez, 2013) y <em>Pulling Strings<\/em> \/ <em>Amor a Primer Visa<\/em> (Pitipol Ybarra, 2013), producidas por la compa\u00f1\u00eda transfronteriza Pantelion Films. En el contexto de pol\u00edtica cultural y econ\u00f3mica de los medios de comunicaci\u00f3n latinos como parte de las redes de comunicaci\u00f3n en los Estadus Unidos y M\u00e9xico, examino la compa\u00f1\u00eda de producci\u00f3n y distribuci\u00f3n Pantelion Films como un agente de &#8216;borderscaping&#8217; que imagina soluciones melodram\u00e1ticas y c\u00f3micas para los problemas comunes de los inmigrantes latinos y de sus hijos. Tambi\u00e9n discuto c\u00f3mo las pel\u00edculas altamente intertextuales de esta compa\u00f1\u00eda tratan de emocionar a un p\u00fablico internacional a trav\u00e9s de la construcci\u00f3n y de la deconstrucci\u00f3n de los clich\u00e9s narrativos cinematogr\u00e1ficos y de las fronteras mentales y f\u00edsicas. En mi an\u00e1lisis eval\u00fao las est\u00e9ticas y narraciones transfronterizas y defino el concepto de &#8216;transborderscapes&#8217; cinematogr\u00e1ficos. En una manera semejante a los &#8216;borderscapes&#8217;, que est\u00e1n m\u00e1s preocupados con las restricciones mentales que geogr\u00e1ficas, los &#8216;transborderscapes&#8217; se establecen y se reestablecen constantemente a trav\u00e9s de im\u00e1genes, narrativas e imaginaciones. Conjuntamente a estas caracter\u00edsticas, los &#8216;transborderscapes&#8217; no solamente enfocan el cruce de fronteras geogr\u00e1ficas y ling\u00fc\u00edsticas, pero tambi\u00e9n transmiten perspectivas dobles, visiones y recuerdos multifac\u00e9ticos de los dos lados de la frontera.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b017 | Transborder Matters&#8221; id=&#8221;1532705295697-43d7d-8e03&#8243; tab_id=&#8221;1580125134563-4&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Romana Radlwimmer \u2013 Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Articles<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-borderlands-revisited\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span> Anja Bandau \u2013 Borderlands revisited <\/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\/xvii-action-as-deferment\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Marisa Belausteguigoitia \u2013 Action as deferment<\/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\/xvii-pantelions-transborderscapes\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Heidi Denzel de Tirado \u2013 Pantelion\u2019s Transborderscapes<\/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\/xvii-poetry-space-inbetween\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Wolfgang M\u00fcller-Funk \u2013 Poetry of the Space in Between<\/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\/xvii-fenomenologia-cruce\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Romana Radlwimmer \u2013 Fenomenolog\u00eda del cruce<\/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\/xvii-chicano-marxist-catholic\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Daniel Schreiner\u2013 Chicano Marxist and Catholic Thought<\/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\/xvii-wet-minds\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Mar\u00eda Socorro Tabuenca C\u00f3rdoba \u2013 Wet Minds<\/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\/xvii-transborder-narrating-identity\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Maria Wiehe \u2013 Transborder Way of Narrating Identity<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Impressions<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-invasorix-guerx\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>INVASORIX \u2013 Me duele la cara por ser tan g\u00fcerx<\/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\/xvii-nepantleras-fotografiando\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Verena Melgarejo Weinandt \u2013 Nepantleras fotografiando<\/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\/xvii-segundo-febrero\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Laura Varela \u2013 Segundo de Febrero<\/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\/xvii-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>[\/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":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,1558],"tags":[1526,1527],"class_list":["post-7866","post","type-post","status-publish","format-standard","category-issues","category-xvii-transborder-matters-en","tag-bilinguismo","tag-heidi-denzel-de-tirado"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Heidi Denzel de Tirado \u2013 Pantelion\u2019s Transborderscapes - iMex Revista<\/title>\n<meta name=\"description\" content=\"iMex XVII. 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