ABSTRACT

I analyze Los Punks: We Are All We Have (2016) for three themes that characterize the (im)migrant family, the savage Latinx adolescent, and the colonial hero constructed in represented urban environments. The recorded space in the documentary denotes cultural authenticity while attempting to transform Latinx performances into assimilationist archetypes of Othered (im)migrant subjects. I argue that visual slippage in (im)migrant representation forms an associative relationship composing assimilation narratives created under cultural legitimacy for colonizing eyes gazing at captured (im)migrant life. I add that (im)migrants reciprocate the colonial gaze by confronting it with embodied, visual, and environmental performances affirming lived experiences with non-White viewers—effectively gouging the colonial eye from the reception codes meant to naturalize neocolonial logics.

摘要

我分析Los Punks：我们就是我们所拥有的一切（2016）的三个主题描绘了（移民）移民家庭、野蛮的拉丁裔青少年以及在代表性城市环境中构建的殖民英雄。纪录片中记录的空间表明了文化的真实性，同时试图将拉丁裔表演转变为其他（移民）移民主体的同化主义原型。我认为，（移民）移民表征中的视觉滑移形成了一种联想关系，构成了在文化合法性下为凝视被捕获的（移民）移民生活的殖民眼睛而创建的同化叙事。我补充说，（移民）移民通过用具体的、视觉的和环境的表演来回应殖民主义的目光，肯定非白人观众的生活经历——有效地将殖民主义的眼睛从旨在使新殖民主义逻辑自然化的接受规范中挖出来。