Narrative Representations of the Maid in the Films ≪La Nana≫ and ≪Roma≫
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Paid domestic work in Latin America accounts for nearly 40% of the worldwide total. Mostly comprised of women, these housekeepers, cleaners, cooks, nannies, or all of the above combined in the category of ‘maids,’ reside in the private sphere of homes and families, rendering their situations invisible. The recent surge of films in Latin America featuring maids as protagonists have increased the visibility of domestic workers. This study is a narrative analysis of two films, ≪La Nana≫ and ≪Roma≫, that feature the maid as protagonist. Conventional servant stories generally have used the antagonistic servant-master relationship as the central narrative force. ≪La Nana≫ initially adopts some of these strategies to provide suspense, but ends the story by resolving the conflict with a personal transformation. ≪Roma≫ deploys poetic images and events in the everyday life of the maid and the family which she serves, through which the bonds of interdependency are built. By eschewing the conventional conflictual servant-master conflict, the films avoid making a caricature of either party. By depicting who they are and what they do as maids, the films nevertheless manage to portray the larger social predicament that the maids find themselves in. I conclude by suggesting that this type of sober narrative representation of maids is more conducive to social dialogue aimed at improving the working conditions of maids.
Abstract
Paid domestic work in Latin America accounts for nearly 40% of the worldwide total. Mostly comprised of women, these housekeepers, cleaners, cooks, nannies, or all of the above combined in the category of ‘maids,’ reside in the private sphere of homes and families, rendering their situations invisible. The recent surge of films in Latin America featuring maids as protagonists have increased the visibility of domestic workers. This study is a narrative analysis of two films, ≪La Nana≫ and ≪Roma≫, that feature the maid as protagonist. Conventional servant stories generally have used the antagonistic servant-master relationship as the central narrative force. ≪La Nana≫ initially adopts some of these strategies to provide suspense, but ends the story by resolving the conflict with a personal transformation. ≪Roma≫ deploys poetic images and events in the everyday life of the maid and the family which she serves, through which the bonds of interdependency are built. By eschewing the conventional conflictual servant-master conflict, the films avoid making a caricature of either party. By depicting who they are and what they do as maids, the films nevertheless manage to portray the larger social predicament that the maids find themselves in. I conclude by suggesting that this type of sober narrative representation of maids is more conducive to social dialogue aimed at improving the working conditions of maids.
참고문헌 (13)
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