Acceso usuarios
Lindsey Reuben Muñoz
The question of immigration in Spanish cinema demands to be analysed within the frame of the global accumulation of capital. Fernando León de Aranoa’s Amador (2010), engages directly with the immigrant’s experience in the neo-liberal transformation of work. In this paper, I argue that this transformation is deeply intertwined with the domestic space. In depicting the home as bound by precariousness, Amador portrays work performed by the immigrant subject as a continuation of domesticity inherited from the nineteenth century that promoted the functionality of the public sphere at the expense of the oppression of women in private.
