IF 0.7 Q3 COMMUNICATION
Arcelia Gutiérrez
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引用次数: 1

摘要

2016年,Buzzfeed宣布创建一个名为“佩罗喜欢”(Pero Like)的Facebook页面和YouTube频道,该频道将“审视‘拉丁保护伞’下的无数身份”,包括“洛杉矶的拉西坎人、科珀斯克里斯蒂的特哈诺人、迈阿密的古巴人(以及他们的邻居),以及所有被告知不像拉丁裔的人。”’”Pero Like追随了mitú的脚步,mitú是一个新媒体多渠道网络,创建于2012年,目标受众是年轻的、具有双重文化的拉丁裔观众,他们是狂热的互联网用户,却被传统媒体所忽视。本文分析了拉丁千禧一代数字内容创作者如何通过社交媒体娱乐来协商、调解和对抗拉丁裔。它主要关注mitú和Pero Like上最受欢迎的四位拉丁裔创作者:珍妮·洛伦佐、凯特·拉佐、朱莉萨·卡尔德隆和玛雅·穆里略。在此过程中,本文探讨了这些创作者如何通过关注文化特殊性、泛民族性、代际差异、语言实践、种族和种族主义以及审美标准来表达拉丁裔千禧一代的政治。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Pero Like and mitú
In 2016, Buzzfeed announced the creation of Pero Like, a Facebook page and YouTube channel that would “look at the myriad identities under the ‘Latinx umbrella,’” including “[B]laxicans in LA, Tejanos in Corpus Christi, Cubans in Miami (and their abuelitas), and everyone who’s been told they don’t ‘look Latina.’” Pero Like followed the footsteps of mitú, a new media multi-channel network created in 2012 to target younger, bicultural Latinx audiences who are avid internet users and overlooked by legacy media. This article analyzes how Latina millennial digital content creators negotiate, mediate, and contest Latinidad through social media entertainment. It focuses on four of the most popular Latina creators featured on mitú and Pero Like: Jenny Lorenzo, Kat Lazo, Julissa Calderon, and Maya Murillo. In doing so, the article explores how these creators articulate the politics of Latinx millenniality through a focus on cultural specificity, panethnicity, generational differences, language practices, race and racism, and beauty standards.
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来源期刊
Feminist Media Histories
Feminist Media Histories Arts and Humanities-History
CiteScore
0.70
自引率
0.00%
发文量
18
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