Abstract:Between October 2013 and June 2014, some fifty-two thousand undocumented, unaccompanied Central American adolescents were detained at the US-Mexico border, a phenomenon indexed by the focus of La jaula de oro, a 2013 Mexican-Spanish coproduction. The film's title is important for its pre-viewing suggestivity. In terms of the filmic discourse vis-à-vis the overall migration phenomenon, the film contains "voids," but La jaula de oro's invocation of the migration genre through intermedial relationships with preexisting texts helps fill some gaps. Two apparent discursive "voids" are the lack of specificity of motivation or destination for four adolescents' traversal and the lack of dialogue. Among its compensating "virtues," the film focuses on human relationships and some of the difficulties faced by migrants, and the "bad" is nuanced in different agents of ill doing. Primary among the film's virtues is the privilege granted to the image. It is at these levels of intermediality and discourse focus on human relationships that the award-winning film is to be appreciated.

中文翻译：

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La jaula de oro的迁徙类型：虚无与美德

摘要：2013年10月至2014年6月，约有5.2万名无证，无人陪伴的中美洲青少年被拘留在美墨边境，这一现象以2013年墨西哥和西班牙共同制作的拉乌拉·德·奥罗着眼。这部电影的标题对预览具有重要意义。在关于整体迁徙现象的电影话语中，影片包含“空洞”，但是拉贾乌拉德奥罗通过与先前存在的文本之间的中间关系对迁徙类型的援引填补了一些空白。两个明显的话语“空洞”是缺乏针对四个青少年的动机或目的地的特异性以及缺乏对话。在其补偿性的“美德”中 这部电影着重于人际关系和移民所面临的一些困难，而“坏事”则是由各种不良行为引起的。电影美德中最主要的是赋予图像的特权。屡获殊荣的电影正是在这些关于人际关系的中介和话语层面上受到赞赏。