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Cultural Production and Ephemeral Art: Feminicide and the Geography of Memory in Ciudad Juárez, 1998-2008

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Cultural Production and Ephemeral Art: Feminicide and the Geography of Memory in Ciudad Juárez, 1998-2008 University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2011 CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998-2008 Alice Laurel Driver University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Driver, Alice Laurel, "CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998-2008" (2011). Theses and Dissertations--Hispanic Studies. 2. https://uknowledge.uky.edu/hisp_etds/2 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s dissertation including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Alice Laurel Driver, Student Dr. Susan Carvalho, Major Professor Dr. Susan Larson, Director of Graduate Studies CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998- 2008 ____________________________________ DISSERTATION ____________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Alice Laurel Driver Lexington, Kentucky Director: Dr. Susan Carvalho, Professor of Hispanic Studies Lexington, Kentucky 2011 Copyright © Alice Laurel Driver 2011 ABSTRACT OF DISSERTATION CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998- 2008 This dissertation examines representations of feminicide victims in documentary film, novels, non-fiction, art, and graffiti and argues that these images express anxiety about they way women traverse and inhabit the geography of Ciudad Juárez, often giving precedence to the idea of the public female body as hypersexualized. In order to reclaim memory of the victims some cultural producers focus on the testimonial form in which victims’ families and other activists share their stories or construct informal memorials in the city; these remembrances later appear in works of non-fiction, film, and art, as markers of the process of creating and preserving memory. My dissertation analyzes such works as the documentary Señorita extraviada (2001) by Lourdes Portillo, the non- fiction work Huesos en el desierto (2002) by Sergio González Rodríguez, and the novel 2666 (2004) by Roberto Bolaño, among other cultural expressions, to show how feminicide victims and their families have been marked by and have challenged a pervasive public discourse about female sexuality. KEYWORDS: Feminicide; femicide; Ciudad Juárez; violence against women; cultural production Alice Laurel Driver Student’s Signature December 15, 2011 Date CULTURAL PRODUCTION AND EPHEMERAL ART: FEMINICIDE AND THE GEOGRAPHY OF MEMORY IN CIUDAD JUÁREZ, 1998- 2008 By Alice Laurel Driver Dr. Susan Carvalho Director of Dissertation Dr. Susan Larson Director of Graduate Studies December 15, 2011 Date ACKNOWLEDGEMENTS I would like to express my gratitude to my dissertation director, Dr. Susan Carvalho, for giving me the structure to define my creative vision and the tools to carry it out. Susan, with equal measures of passion and patience, has accompanied with me on this journey. From her, I have learned about the kind of professor I would like to be. I would also like to thank Dr. Susan Larson and Dr. Enrico Mario Santí for their close readings and many discussions of my work. I am indebted to Dr. Ana Secor for introducing me to geographies of power and for suggesting that I include maps in my dissertation. I extend my thanks to Dr. Tad Mutersbaugh for discussions that gave me focus in the early stages of my project. I benefited from the generosity of many people during the research and writing of my dissertation. I would like to thank the following filmmakers, writers, journalists, photographers, academics, artists, curators, and cartographers for allowing me to interview them about their work: Rafael Bonilla, Patricia Ravelo Blancas, Ursula Biemann, Lourdes Portillo, Sergio González Rodríguez, Charles Bowden, Julián Cardona, Maya Goded, Cynthia Bejarano, Molly Molloy, Kathleen Staudt, Julia Monárrez Fragoso, María Socorro Tabuenca Córdoba, Arturo Rivera, Rosalinda González, Kerry Doyle, and Luis E. Cervera G. I would also like to express my gratitude to cartographers Jeffery Levy of the University of Kentucky and Luis E. Cervera G. of El Colegio de la Frontera Norte in Ciudad Juárez for donating their time to help make maps for this project. I am grateful to photographer Maya Goded for allowing me to include photographs in my dissertation from her series on feminicide. I am indebted to photographer Julián Cardona for helping me organize a visit to Ciudad Juárez and to Patricia Ravelo Blancas, iii coordinator of the project Social Protest and Collective Actions Against Sexual Violence, for sharing research materials and inviting me to a meeting of the feminicide commission in Mexico City. My research has also benefited from the synthesis of border news and information provided by Molly Molloy via the Frontera List. To my parents, for changing the course of my life by taking me to Costa Rica at the age of 16; to my brother Ian, for reading so voraciously that I could not help but compete; and to my husband Isaac, for teaching me that there are no half measures. iv TABLE OF CONTENTS Acknowledgements ............................................................................................................ iii List of Figures ................................................................................................................... vii Chapter One: Beginnings: Feminicide and Memory Creation ............................................1 Feminicide in Ciudad Juárez ................................................................................... 3 Searching for a Definition of Feminicide ............................................................. 16 A Dual Discourse on Feminicide .......................................................................... 25 Did Feminicide Begin in1993? ............................................................................. 25 In Between Places ................................................................................................. 28 Memory ................................................................................................................. 30 Cultural Production ............................................................................................... 31 Chapter Two: Representations of Feminicide in Documentary Cinema: Searching for Ecotestimonios .................................................................................................................. 37 Performing the Border .......................................................................................... 46 Señorita extraviada................................................................................................ 54 La batalla de las cruces ......................................................................................... 64 Ecotestimonio and the Filmic Memoryscape in Ciudad Juárez ............................ 78 Chapter Three: Of the Flesh: Graphic Depictions of Feminicide in Ciudiad Juárez .........79 Linguistic Violence ............................................................................................... 85 Porno-Misery ........................................................................................................ 87 Juárez: The Laboratory of Our Future .................................................................. 88 Feminicide: A Shared Obsession ........................................................................ 100 Huesos en el desierto .......................................................................................... 104 2666 and the Aesthetics of Horror .....................................................................
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