https://orcid.org/0000-0003-2746-4326
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ABSTRACT
We analyse the media representations of women at the Spanish-Moroccan border. We will compare those of cinematographic works that have given them a central role in the story and that operate via minority circuits, with the more habitual ones that have more of an impact on the social imaginary resulting from more widespread media. In contrast to the high number of women confined at this border and the seriousness of the specific problems affecting them, their representations are rare. When they do appear, the representations of both types clash. The more widespread ones, through the use of gender determinants, end up reifying them in the imaginary in subordinate positions which facilitate their incorporation into work networks for the first world (such as care work). Furthermore, the cinematographic works analysed provide more complex representations of these women. For example, they consider alternative discourses that are critical of the capitalist use of their bodies in the workforce.
Acknowledgments
To Rosana.
To the Centre for Transdisciplinary Gender Studies (Humboldt-Universität zu Berlin), for inviting one of the authors to participate in a research period during which the majority of this article was written.
Disclosure statement
No potential conflict of interest was reported by the authors.
Notes
1. See Market Share Statistics for Internet Technologies (https://n9.cl/pbsl).
2. It responds to the physical location of the border, and to having used Spanish for the search. On the second date results from Latin American media appeared (El comercio from Peru and Panorama from Venezuela).
3. It is at the border between Morocco and Algeria.
4. On both search dates one of the images is from an NGO and in the second there is an image from a political discussion blog.
9. From its webpage: http://conunpack.com/.
10. La Maleta, Wide House and Freak.
12. See, for example, the news published in Ceuta Actualidad (Citation2015).
13. According to the official webpage of Bolingo, el bosque del amor.
14. In 2014, Amparo Climent and Concha Mayordomo, president of the group Generando Arte, coordinated the visual project and exhibition Las lágrimas de África: La valla. 100 artistas en la frontera sur with drawings and letters from refugees in Monte Gurugú and works by Spanish artists supporting their cause.
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Notes on contributors
Mar Binimelis-Adell
Mar Binimelis-Adell, PhD in Communication from the Rovira i Virgili University. Professor of the Communication Department of the University of Vic - Central University of Catalonia (UVic-UCC) and the Master Women, Gender and Citizenship (Barcelona University). Member of the TRACTE research group (Audiovisual Translation, Communication and Territory), of the MYC project (Women and Cinema) and researcher of the CEIG (Center for Interdisciplinary Gender Studies of the UVic-UCC). She does research on gender in audiovisuals and minority representation in the media. E-mail: [email protected]
Amarela Varela Huerta
Amarela Varela Huerta, PhD in Sociology from the Autonomous University of Barcelona (UAB), specialist in migration from the Pontifical University of Comillas in Madrid and. Degree in Journalism and Communication Sciences from the National Autonomous University of Mexico (UNAM). Since 2008, she works as a professor / researcher in the Academy of Communication and Culture of the Autonomous University of Mexico City (UACM). The lines of research that shape their academic work are migration and social movements, interculturality and communication. E-mail: [email protected]