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El Charco, El Diablo Y La Tutti Frutti: Hacia Un Imaginario Eulatino Transnacional En Frances Negrón-Muntaner

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El Charco, El Diablo Y La Tutti Frutti: Hacia Un Imaginario Eulatino Transnacional En Frances Negrón-Muntaner El charco, el Diablo y la Tutti Frutti: hacia un imaginario eulatino transnacional en Frances Negrón-Muntaner, Lourdes Portillo y Helena Solberg by Norma A. Valenzuela Pulido A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved October 2011 by the Graduate Supervisory Committee: Manuel de Jesús Hernández-G., Chair David W. Foster, Member Isis McElroy, Member Marta Sánchez, Member C. Alejandra Elenes, Member ARIZONA STATE UNIVERSITY December 2011 ABSTRACT This dissertation is a comparative study of three contemporary women filmmakers: Puerto Rican Frances Negrón-Muntaner, Chicana director Lourdes Portillo, and Brazilian director Helena Solberg. Informed by transnational theory, politics of location, feminism on the border, and approaches to documentary filmmaking, the study examines three filmic texts: Brincando el charco: Portrait of a Puerto Rican (1994), The Devil Never Sleeps/El diablo nunca duerme (1994), and Carmen Miranda: Bananas Is My Business (1994). Each film is narrated by a female voice who juxtaposes her personal and transnational identity with history to tell her migration story before and after returning to her country of origin. An objective of the study is to demonstrate how the film directors vis-á-vis their female protagonists, configure a United States Latina transnational imaginary to position their female protagonists and themselves as female directors and as active social agents. Further, the dissertation explores how the filmmakers construct, utilizing the cinematographic apparatus, specific forms of resistance to confront certain oppressive forms. The theoretical framework proposes that transnational documentary filmmaking offers specific contestatory representations and makes possible the opening of parallel spaces in order to allow for a transformation from multiple perspectives. Through the utilization of specific techniques such as archival footage, the three directors focus on historical biographies. Further, they make use of experimental filmmaking and, in particular, the transnational documentary to deconstruct hegemonic discourses. Lastly, transnational cinema is valued as a field for cultural renegotiating and as a i result, the documentary filmmakers in this study are able to reconfigure a transnational imaginary and propose an alternative discourse about history, sexuality, family structures, and gender relations. In sum, my dissertation contributes to Chicana/o and U.S. Latina/o, American Literature, and other Ethnic Literatures by focusing on migration, acculturation, and multicultural dialogue. ii Abstracto Esta investigación es un estudio comparativo de tres cineastas contemporáneas: la puertorriqueña Frances Negrón-Muntaner, la chicana Lourdes Portillo y la brasileña Helena Solberg. Informado por la teoría transnacional, la política de la localidad, el feminismo de la frontera y una aproximación a la cinematografía del documental, el estudio examina tres textos fílmicos: Brincando el charco: Portrait of a Puerto Rican (1994), The Devil Never Sleeps/El diablo nunca duerme (1994) y Carmen Miranda: Bananas Is My Business (1994). Cada filme lo narra una voz fémina la cual yuxtapone su identidad y su historia personal y transnacional. Las protagonistas cuentan su historia de inmigración y las renegociaciones que tuvieron que hacer antes y después del regreso a su país de origen. Un objetivo del estudio es el demostrar cómo las directoras, vis-à-vis sus protagonistas femeninas, configuran el imaginario transnacional para posicionarse ellas mismas como mujeres socialmente activas. Además, la investigación explora cómo las cineastas construyen formas específicas de resistencia puesto que utilizan el dispositivo cinematográfico para examinar ciertas formas opresivas. El marco teórico propone que el documental transnacional ofrece representaciones específicas de contestación, lo cual hace posible la apertura de ciertos espacios paralelos para poder facilitar una transformación subjetiva desde múltiples perspectivas. Vía la utilización de técnicas específicas como pietaje de archivo, las tres cineastas se enfocan en biografías históricas. Conjuntamente, hacen uso del cine experimental y, en particular, el documental transnacional para deconstruir discursos hegemónicos iii que las posicionan como directoras féminas y a sus protagonistas como sujetos activos con agencialidad. Por último, el cine transnacional es valorado como un campo para la renegociación cultural y, como resultado, las cineastas en este estudio son capaces de reconfigurar un imaginario transnacional y proponer un discurso alternativo sobre la historia, la sexualidad, las estructuras familiares y las relaciones de género. En general, esta investigación contribuye a los Estudios Chicanos, a los Estudios Latinoamericanos, a los Estudios Norteamericanos y, en general, a los Estudios Étnicos ya que se enfoca en la inmigración, la aculturación, la transnacionalización y a un diálogo multicultural local y global. iv DEDICATION I dedicate this work to my parents José Valenzuela López and Jeronima Pulido Hernández. To my sisters—Elisabeth, Mercedes, Maribel, and Lucy, I love you and am very proud of being your oldest sister. I thank you for always being there for me; each one of you has impacted my life in a special way. To my beloved grandparents: Don Porfirio Pulido Lazarin, Doña Fidencia Hernández, Don Buena Ventura Valenzuela and Doña Josefina López. To all of my primas and primos especially to Victor Valenzuela may he rest in peace and be sharing in my accomplishment. Thirty-two years ago we left our maternal family for a better future and travelled to Albuquerque, New Mexico—the Land of Enchantment. In this new land we survived hunger and loneliness, yet we maintained our heritage language and got educated. We adopted a new culture and country but remained grounded to our querencia. This study is very important to me because I consider myself a transfronteriza straddling two patrias and because it is importat to tell and write HERstory. I especially dedicated this work to my past, present, and future students, and particulary to all the DREAMers. I was once in your shoes. v ACKNOWLEDGMENTS I would like to agradecer my Professors and mentors: Dr. Manuel de Jesús Hernández-G., for his devotion to social justice and his ardous task of paving the road for Chicanos in higher education; Dr. David W. Foster, for introducing me to Latin American feminist filmmaking and particularly the work of Helena Solberg; Dr. Marta Sánchez, for her valueable time and patience while I tried to explain concepts and terminology; Dr. Isis McElroy, for her insightful commentary on Brazilian culture, language, and society, about a country of which I knew almost nothing about; and Dr. C. Alejandra Elenes, for introducing me to transnational feminism and its impact on Chicanas and Latinas. I am especially grateful to her for encouraging me to approach theory in an innovative engaged manner. The last five years I have worked with and was adopted into the Transborder family. I am very appreciative of all the personal and professional support they have given me: in particular, Dr. Carlos Vélez-Ibáñez, for sharing his conceptualization of the transborder world with me; María Phalen, for her friendship and comida con sazón; and the rest of the familia: Dr. Eileen Díaz McConnell, Dr. Hilda García Pérez, Dr. Lisa Magaña, Dr. Edward Escobar, Dr. Miguel Montiel, Dr. Marivel Danielson, Dr. Paul Espinosa, Dr. María Luz Cruz Torres, Dr. Francisco Lara-Valencia, Dr. Carlos Ovando, Regents’ Professor Emerita Dr. Cordelia Candelaria, Mrs. Irma Arboleda, and Dr. Elsie Szecsy,. I also want to thank my friends and colleagues: Sara Peña-Lee, Pat Knutesen, Vanessa Nelson Hill, Mary Billington, Katy Kohney, Vitae Felix, vi Andrea Perusquía, Carolyn Harley, Vanessa Fonseca, Daniel Vargas, Mario Escobar, Jennifer Gómez-Chávez, Vivian Sánchez, Seline Szkupinski-Quiroga, Eileen Doench, and Phyllis Krause Primas. Each of you has been with me through this journey, and I appreciate your sincere support. vii TABLA DE CONTENIDO CAPÍTULO ......................................................................................................... Página 1 EL IMAGINARIO TRANSNACIONAL DE LAS EULATINAS EN LAS PELÍCULAS BRINCANDO EL CHARCO: PORTRAIT OF A PUERTO RICAN (1994), THE DEVIL NEVER SLEEPS/ EL DIABLO NUNCA DUERME (1994) Y CARMEN MIRANDA: BANANAS IS MY BUSINESS (1994) ............................................. 1 A. Introducción .................................................................................. 1 B. Investigación existente sobre el cine eulatino o latinoestadounidense: de estereotipos a figuras realistas .............. 4 C. Producción fílmica contemporánea de las chicanas y eulatinas: el desarrollo de un imaginario transnacional ................................ 8 D. Investigación existente de las obras cinematográficas bajo estudio: Brincando el charco: Portrait of a Puerto Rican, The Devil Never Sleeps/El diablo nunca duerme y Carmen Miranda: Bananas Is My Business ............................................................. 11 1. Frances Negrón-Muntaner ...................................................... 11 2. Lourdes Portillo ...................................................................... 14 3. Helena Solberg ........................................................................ 18 E. Marco teórico .............................................................................. 20 F. División de
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    Resources Books Adams, Anna. 2000. Hidden from History: The Latino Community of Allentown. Allentown: Lehigh County Historical Society. Davila, Arlene. 2001. Latinos Inc.: The Marketing and Making of a People. Berkeley: University of California Press. Davis, Mike. 2001. Magical Urbanism: Latinos Reinvent the U.S. City. Verso. Delgado, Richard and Jean Stefanic, editors. 1998. The Latino/a Condition: A Critical Reader. New York: New York University Press. Flores, Juan. 2000. From Bomba to Hip-Hop. New York: Columbia University Press. Flores, William V. and Rena Benmayor, editors. 1998. Latino Cultural Citizenship: Claiming Identity, Space, and Rights. Boston: Beacon Press. Goode, Judith and Jo Anne Schneider. 1994. Reshaping Ethnic and Racial Relations in Philadelphia: Immigrants in a Divided City. Philadelphia: Temple University Press. Morales, Ed. 2002. Living in Spanglish: The Search for Latino Identity in America. Los Angeles: LA Weekly Books. Oboler, Suzanne. 1995. Ethnic Labels, Latino Lives: Identity and the Politics of (Re)Presentation in the United States. Minneapolis: University of Minnesota Press. Olmos, Edward James and Lea Ybarra. 1999. Americanos: Latino Life in the United States. Little, Brown & Company Padilla, Félix. 1985. Latino Ethnic Consciousness: The Case of Mexican Americans and Puerto Ricans in Chicago. Notre Dame, IN: University of Notre Dame Press. Rodriguez, Clara E. 2000. Changing Race: Latinos, the Census, and the History of Ethnicity in the United States. New York: New York University Press. Stavans, Ilan. 2004. Spanglish: The Making of a New American Language. RAYO. Suárez-Orozco, Marcelo M. and Mariela M. Páez, editors 2002. Latinos: Remaking America. Berkeley: University of California Press. Suro, Roberto.
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