Analysis of the postfeminist multimodal discourse in the series “Madre solo hay dos”: local-transnational-transcultural communication imbrication
DOI:
https://doi.org/10.6092/issn.2421-454X/13313Keywords:
transnationalization, transcultural communication, postfeminist media culture, multimodal discourse, TV seriesAbstract
This article provides a preview of the research started two years ago on transcultural communication in television series, within the framework of transnationalization. The results of the exploration of the analysis of multimodal discourse to the Mexican series Madre solo hay dos, available on the Netflix platform since January 2021are now presented. The article consists of four parts. The first contextualizes the Netflix-transnationalization relationship and tries to justify the selection of the series; the second outlines the post-feminist media culture as a starting point for the construction of the model. The third part presents the analysis model based on the contributions of social semiotics and multimodal discourse analysis to show the results in the next part. The conclusions revolve around the possibility of continuing the analysis of Ibero-American series starring women to contribute to the incorporation of the results into feminist media culture and transcultural communication in the context of transnationalization.
References
Alcalá, Fabiola (2020). “La visualidad de los personajes femeninos en series de ficción mexicanas producidas por Netflix”, en Televisión en tiempos de Netflis: una nueva oferta mediática, Guillermo Orozco (ed.), 109-126. Guadalajara: Universidad de Guadalajara.
Athique, Adrian (2016). Transnational audiences. Cambridge, U.K: Polity Press.
Banet-Weiser, Sarah; Rosalind Gill y Catherine Rottenberg (2020). “Postfeminist, popular feminism and neoliberal feminism”. Feminist Theory 21 (1): 3-24. https://doi.org/10.1177%2F1464700119842555.
Benassini, Claudia (2019). “Propuesta de análisis de las representaciones globales de las series televisivas desde la óptica de la comunicación transcultural”, Razón y Palabra 23 (104). https://www.revistarazonypalabra.org/index.php/ryp/article/view/1375/1338 .
Benassini, Claudia (2021). “Street Food Latinoamérica: contribución de Netflix a la construcción de los imaginarios cosmopolitas transnacionales”, de próxima publicación en Global Media Journal, enero de 2022
Bezemer, Jeff y Carey Jewitt (2009). “Social semiotics”, Handbook of pragmatic 13:1-14. https://doi.org/10.1075/hop.13.soc5 .
Cornelio Marí, Elia (2020). “Melodrama mexicano en la era de Netflix: algoritmos para la proximidad cultural”, Comunicación y sociedad (17):1-27. https://doi.org/10.32870/cys.v2020.7481.
Darling Wolf, Fabienne (2015). Imaginating the global. Ann Arbor: University of Michigan Press.
Dosekun, Simidele (2020). Fashioning postfeminism: spectacular femininity and transnational culture. Chicago: University of Illinois Press.
Gallagher, Margaret (2014). “Media and the representation of gender”, en The Routledge Companion to Media and Gender, Cynthia CARTER; Linda STEINER Y Lisa Mclaughlin (eds.), 92-115. London: Routledge.
Gauntlett, David (2008). Media, gender and identity. London: Routledge.
Gill, Rosalind (2007) Gender and the media. Cambridge: Polity Press.
Gill, Rosalind (2016). “Postfeminist? New feminist visibilities in postfeminist times”, Feminist Media Studies 16(4): 610-630. https://doi.org/10.1080/14680777.2016.1193293 .
Gill, Rosalind (2017). “The affective, cultural and psychic life of postfeminism: A postfeminist sensibility 10 years on”. European journal of cultural studies 20(6):606-626. https://doi.org.1/107.171/1773/6173657459449147177333003.
Giraldo, Isis (2019, noviembre 15). “Posfeminismo / Genealogía, geografía y contornos de un concepto”. Debate Feminista 59. https://doi.org/10.22201/cieg.2594066xe.2020.59.01.
Gómez, Narci y Juan F. Plaza (2016). “Nuevas formas de ser mujer o la feminidad después del feminismo”. Oceanside 9:1-14 http://oceanide.netne.net/articulos/art9-7.pdf (last accessed 06-07-21)
González, Francisco y Esteban Herrera (2015). Análisis crítico del discurso de los memes alusivos al debate sobre paramilitarismo en el Congreso de la República de Colombia, Tesis de Maestría. Cali: Universidad del Valle, Facultad de Humanidades.
Halliday, Michael (1978). El lenguaje como semiótica social. México: Fondo de Cultura Económica.
Hall, Stuart (2013). The work of representation. California: Sage.
Harvey, Alison (2020). Feminist media studies. Cambridge: Polity Press.
Hepp, Andreas (2015). Transcultural communication. New Jersey: Wiley Blackwell.
Hernández, Mauricio (2021). “Netflix con sabor a México: apuesta por la industria audiovisual local”. Forbes 20. https://www.forbes.com.mx/nuestra-revista-netflix-con-sabor-a-mexico-apuesta-por-la-industria-audiovisual-local/ (last accessed 09-11-21).
Hodge, Bob (2017). Social semiotics for a complex world. Cambridge: Polity Press.
Illouz, Eva (2012). Intimidades congeladas. México: Katz editors.
Jewitt, Carey; Jeff Bezemer y Kay O’Halloran (2016). Introducing multimodality. London: Routledge.
Kidd, Jenny (2016). Representation. London: Routledge.
Kress, Gunther (2010). Multimodality: a social semiotic approach to contemporary communication. London: Routledge.
Krijnen, Tonny y Sofie Van Bauwel (2015). Gender and media: representing, producing, consuming. London: Routledge.
Lobato, Ramon (2019). Netflix Nations: the geography of digital distribution. New York: New York University Press.
Lotz, Amanda (2017). Portals: a treatise on Internet distributed television. Ann Arbor: Michigan Publishing.
Marín, Esther (2019). “Más allá de Bechdel: The good wife, The good fight y Orange is the new black: la imagen de la mujer en las series de television feministas”. Universitas, Humanística 87:25-49. https://doi.org/10.11144/Javeriana.uh87.mbgw.
McRobbie, Angela (2004). “Postfeminism and popular culture”. Feminist media studies 4(3): 11-23. https://doi.org/10.1515/9780822390411-003.
McRobbie, Angela (2008). The aftermath of feminism: gender, culture and social change. London: Goldsmith College, University of London.
Negra, Diana (2009). What a girl wants?. London: Routledge.
Ozkan, Derya y Deborah Hardt (2020). “The strong female lead: postfeminist representatión of women and femininity in Netflix shows”. En Female agencies and subjectivities in film and television, D. Sezen, F. Cicekoglu, A. Tunc, E. Diken (eds.), 165-188. London; Palgrave-Macmillan.
Pardo, Graciela (2016). Introducción al análisis del discurso multimodal. Bogotá: Universidad Nacional de Colombia.
Pérez, Thelma (2018). “Diversidad, empoderamiento y libre elección: una mirada a representaciones de las mujeres en el spot Bonafont fluye en ti (2016)”. Azparkía 33: 295-314. http://dx.doi.org/10.6035/Asparkia.2018.33.17 .
Pries, Ludger (2017). La transnacionalización del mundo social: espacios sociales más allá de las sociedades nacionales. México: El Colegio de México.
Ramos, Sofía (2021). “Madre solo hay dos: una comedia donde el feminismo y diversidad pintan mucho”. 35 milímetros. https://35milimetros.es/madre-solo-hay-dos-una-comedia-donde-el-feminismo-y-la-diversidad-pintan-mucho/ (last accessed 11-09-21)
Riley, Sarah; Adrienne Evans; Sinikka Elliot y Jeanne Marecek (2017). “A critical review of Postfeminist sensibility”, Social and personality psychology compass. https://doi.org/10.1111/spc3.12367.
Rottenberg, Catherine (2018). The rise of neoliberal feminism. Oxford: Oxford University Press.
Sánchez, Carolina (2009). “Confesiones de una posfeminista: nuevos roles de mujer en la cultura popular contemporánea”. Revista de Historia de la Universidad de Sevilla 24: 90-100. http://hdl.handle.net/11441/26976 .
Van Dijk, Teun (2000). “El estudio del discurso”, en El discurso como estructura y como proceso Dijk Van (ed.), 21-66. Barcelona: Gedisa.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 Claudia Benassini
This work is licensed under a Creative Commons Attribution 3.0 Unported License.
