Whiteness, Coloniality and Distributive Justice in Claudia Llosa's La teta asustada (2009).
First released in 2009, Peruvian filmmaker Claudia Llosa's La teta asustada has received "mixed" critical attention. While some accuse Llosa of exotifying Indigenous peoples and traditions, others suggest that the film succeeds in representing the traumatic memory of victims of Peru's Internal Armed...
| Publicado en: | Hispanic Review Vol. 92; no. 2; pp. 201 - 222 |
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| Formato: | Film/TV Criticism and Review |
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University of Pennsylvania Press
Spring2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=178237206&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178237206 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00182176 HIR jtl: Hispanic Review issn: 00182176 maglogo: N pubinfo: dt: Spring2024 vid: 92 iid: 2 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 178237206 10.1353/hir.2024.a929137 ppf: 201 ppct: 21 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: Whiteness, Coloniality and Distributive Justice in Claudia Llosa's La teta asustada (2009). aug: au: Renker, Tess affil: University of Oklahoma su: La Teta Asustada (Film) Llosa, Claudia Racial identity of white people Distributive justice Imperialism Lima (Peru) sug: subj: Lima (Peru) La Teta Asustada (Film) Llosa, Claudia Racial identity of white people Distributive justice Imperialism keyword: Armed Conflict Claudia Llosa Coloniality Distributive Justice Film Indigeneity Lima Memory Migration Peru Race Social Justice Tess Renker Whiteness ab: First released in 2009, Peruvian filmmaker Claudia Llosa's La teta asustada has received "mixed" critical attention. While some accuse Llosa of exotifying Indigenous peoples and traditions, others suggest that the film succeeds in representing the traumatic memory of victims of Peru's Internal Armed Conflict (~1980–2000). Without necessarily disputing either interpretation, this article explores the filmmaker's apparent grappling with questions of coloniality, whiteness, and complicity, particularly among Lima's white elite. Analyzing the tense relationship between the film's Indigenous protagonist and her white employer, the essay proposes that La teta asustada offers an important critique of Lima's persistent coloniality, particularly as it relates to limeño responses to rural-to-urban migration and the nation's recent civil war. Moreover, it suggests that Llosa's critique of "White Lima" represents an exploration of her own privilege and complicity, as well as a possible reckoning with the problematic Conflict-era musings of her uncle, Mario Vargas Llosa pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Hispanic Review is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Hispanic Review holder: University of Pennsylvania Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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