Body, Image, Colonial Signs in Astrid Hadad’s Corazón Sangrante

Authors

  • Maurício de Bragança Universidade Federal Fluminense

DOI:

https://doi.org/10.1590/S0104-026X2011000200006

Abstract

In this article, we present a discussion about the use of the heart as an important allegorical element of recognition of a collective identity in Latin America. The work of Astrid Hadad, a Mexican performer-cabaretera, of Maya-Lebanese origin, points to the criticism of a control policy that organizes gender models in Mexico. The experience of colonization in Latin America was guided by discursive strategies which employed the heart as an important allegory of subordination, especially that of women. In her video clip Corazón Sangrante, using the linguistic strategies of the melodrama, Hadad uses the ambiguity of irony to approach this issue, pointing to colonial marks in the contemporary Mexican culture.

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Author Biography

Maurício de Bragança, Universidade Federal Fluminense

É graduado em História e Cinema, mestre em Comunicação e doutor em Letras (Literatura Comparada) pela Universidade Federal Fluminense (UFF), onde também fez seu pós-doutorado. Atuou como professor substituto de História da América durante dois anos no IFCS/UFRJ. Atualmente é professor adjunto do Departamento de Cinema e Vídeo e do Programa de Pós-Graduação em Comunicação da UFF.

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Published

2011-01-01

How to Cite

Bragança, M. de. (2011). Body, Image, Colonial Signs in Astrid Hadad’s Corazón Sangrante. Revista Estudos Feministas, 19(2), 403. https://doi.org/10.1590/S0104-026X2011000200006

Issue

Vol. 19 No. 2 (2011)

Section

Articles

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