English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

I propose to reveal how the filmmakers portray their young female protagonists and answer how their calculated weighing of realistic possibilities, as represented in La Yuma (2009) and El Camino (2007) confirm on one hand the vulnerability of the female subjects and simultaneously contradict the image of the helpless victim living at the mercy of others. I argue that growing up in all embracing insecurity and underdevelopment has promoted the protagonist‟s estranged image of a unified self and by altering and reclaiming the past they aspire to create a new sense of self. Their search for suitable social settings and patterns entail, as the Costa Rican/Russian director of El Camino, Ishitar Yasin, has emphasised, “perseverance, risk taking and wilfulness”. The films confirm predominant disorder of traditional social role models and showcase attempts; some failed other succeeded, to claim new places and changed positions.

Creando subjetividades a través del arte cinematográfico. Historias sobre transformación personal en el cine centroamericano de los últimos años