Jillian M Báez
Biographic Data
| ID | 1354941 |
|---|---|
| NAME | Jillian M Báez |
| GIVEN NAMES | Jillian M |
| FAMILY NAME | Báez |
| SIGNATURE | BÁEZ J M |
| AFFILIATIONS | Hunter College |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
More Than Tortillas
The Chicano-centric reboot of Party of Five (2020) exemplifies a postracial, postnetwork representational strategy to diversify mainstream media programming. While only ten episodes were produced and aired, several transgressive elements of Party of Five elevate the visibility and discursive representations of Chicanas/os/xs: the show problematizes dominant ideologies, complicates gender roles, offers nuanced constructions of immigrants, and depi…
Performing Representational Labor
This essay analyzes the representational work and institutional reception of two contemporary transnational icons, singer/actress Amara La Negra and actress Yalitza Aparicio. The author argues that Amara La Negra and Yalitza Aparicio disrupt the dominant trope of racial ambiguity circulating in transnational media representations of Latina womanhood. In doing so, these two public figures rupture hegemonic racial ideologies embedded in colonial re…
“I Know I Can’t Wait to See My Name in Lights”
This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved t…
Special Section Introduction
Listening to Frances R. Aparicio
Targeting Billennials”
Univision, historically the number one Spanish network, departed from its long tradition of safeguarding neutral Spanish to embrace not only English, but also Spanglish and Spanish-Caribbean accents in 2015. This article explores Univision’s new linguistic flexibility via two emblematic reality TV shows: Nuestra Belleza Latina (2007–) and La Banda (2015–). Through a textual analysis of these shows and industrial analysis of the strategies deploye…
In Search of Belonging
Introduction
Introduction:Revisiting Beauty Natalie Havlin (bio) and Jillian M. Báez (bio) As Central America's smallest, but most densely populated country, El Salvador sits at the edge of the Pacific Ocean. In some ways, El Salvador is a progressive nation following its civil war (1979–1992), spurred by military repression and income equality. For example, despite its small geographic size and poverty, El Salvador is internationally known for refusing to ac…
Charting Latinx Fandom
This chapter introduces the scholarship on Latinx fandom. Although Latinx audiences certainly have been frustrated by media representations, there are numerous forms of media that Latina/o audiences consume regularly and find immensely pleasurable. Latinx audiences&s; frustration is experienced in consumption of both mainstream and Spanish-language media because representations in both these media markets often reproduce longstanding stereotypes …
Structurelessness 2.0
Structurelessness 2.0 Jillian Báez (bio) When presented with the opportunity to revisit Jo Freeman’s “The Tyranny of Structurelessness,” I realized that I had never read the original article. I had encountered Freeman’s argument about the danger of informal, seemingly structureless groups in other writings and even sometimes saw it referred to without explicit citations, implying that her assertions are now considered de facto. This, of course, u…
Towards a Latinidad Feminista
This essay examines the multiplicities of Latinidad and feminism as portrayed in contemporary cinema. Using the films Selena (1997), Girlfight (2000), and Real Women Have Curves (2002 La Voo, G., Brown, E., and Cardoso, P., 2002. Real women have curves. United States: HBO Films; 2002, [Motion picture]. [Google Scholar]) as case studies, the author argues that these films mark a moment in U.S. cinematic history in which diverse and complex Latinid…
Introduction
Introduction:Revisiting Beauty Natalie Havlin (bio) and Jillian M. Báez (bio) As Central America's smallest, but most densely populated country, El Salvador sits at the edge of the Pacific Ocean. In some ways, El Salvador is a progressive nation following its civil war (1979–1992), spurred by military repression and income equality. For example, despite its small geographic size and poverty, El Salvador is internationally known for refusing to ac…
Towards a Latinidad Feminista
This essay examines the multiplicities of Latinidad and feminism as portrayed in contemporary cinema. Using the films Selena (1997), Girlfight (2000), and Real Women Have Curves (2002 La Voo, G., Brown, E., and Cardoso, P., 2002. Real women have curves. United States: HBO Films; 2002, [Motion picture]. [Google Scholar]) as case studies, the author argues that these films mark a moment in U.S. cinematic history in which diverse and complex Latinid…
Targeting Billennials”
Univision, historically the number one Spanish network, departed from its long tradition of safeguarding neutral Spanish to embrace not only English, but also Spanglish and Spanish-Caribbean accents in 2015. This article explores Univision’s new linguistic flexibility via two emblematic reality TV shows: Nuestra Belleza Latina (2007–) and La Banda (2015–). Through a textual analysis of these shows and industrial analysis of the strategies deploye…
Towards a Latinidad Feminista
This essay examines the multiplicities of Latinidad and feminism as portrayed in contemporary cinema. Using the films Selena (1997), Girlfight (2000), and Real Women Have Curves (2002 La Voo, G., Brown, E., and Cardoso, P., 2002. Real women have curves. United States: HBO Films; 2002, [Motion picture]. [Google Scholar]) as case studies, the author argues that these films mark a moment in U.S. cinematic history in which diverse and complex Latinid…
Structurelessness 2.0
Structurelessness 2.0 Jillian Báez (bio) When presented with the opportunity to revisit Jo Freeman’s “The Tyranny of Structurelessness,” I realized that I had never read the original article. I had encountered Freeman’s argument about the danger of informal, seemingly structureless groups in other writings and even sometimes saw it referred to without explicit citations, implying that her assertions are now considered de facto. This, of course, u…
Charting Latinx Fandom
This chapter introduces the scholarship on Latinx fandom. Although Latinx audiences certainly have been frustrated by media representations, there are numerous forms of media that Latina/o audiences consume regularly and find immensely pleasurable. Latinx audiences&s; frustration is experienced in consumption of both mainstream and Spanish-language media because representations in both these media markets often reproduce longstanding stereotypes …
In Search of Belonging
Introduction
Introduction:Revisiting Beauty Natalie Havlin (bio) and Jillian M. Báez (bio) As Central America's smallest, but most densely populated country, El Salvador sits at the edge of the Pacific Ocean. In some ways, El Salvador is a progressive nation following its civil war (1979–1992), spurred by military repression and income equality. For example, despite its small geographic size and poverty, El Salvador is internationally known for refusing to ac…
Targeting Billennials”
Univision, historically the number one Spanish network, departed from its long tradition of safeguarding neutral Spanish to embrace not only English, but also Spanglish and Spanish-Caribbean accents in 2015. This article explores Univision’s new linguistic flexibility via two emblematic reality TV shows: Nuestra Belleza Latina (2007–) and La Banda (2015–). Through a textual analysis of these shows and industrial analysis of the strategies deploye…
Special Section Introduction
Listening to Frances R. Aparicio
“I Know I Can’t Wait to See My Name in Lights”
This essay explores the production, content, and reception of Nickelodeon’s sitcom Taina (2000–01). Created by Maria Perez-Brown, a Latina pioneer in cable television, Taina ran for two seasons and foregrounded a Puerto Rican teenage girl at a performing arts high school in New York City. Guided by an intersectional feminist media studies analysis, I argue that Taina presages the rise of girls’ tween and teen shows on cable television and paved t…
Performing Representational Labor
This essay analyzes the representational work and institutional reception of two contemporary transnational icons, singer/actress Amara La Negra and actress Yalitza Aparicio. The author argues that Amara La Negra and Yalitza Aparicio disrupt the dominant trope of racial ambiguity circulating in transnational media representations of Latina womanhood. In doing so, these two public figures rupture hegemonic racial ideologies embedded in colonial re…
More Than Tortillas
The Chicano-centric reboot of Party of Five (2020) exemplifies a postracial, postnetwork representational strategy to diversify mainstream media programming. While only ten episodes were produced and aired, several transgressive elements of Party of Five elevate the visibility and discursive representations of Chicanas/os/xs: the show problematizes dominant ideologies, complicates gender roles, offers nuanced constructions of immigrants, and depi…
Sociology (9 works) · Art (6 works) · Political science (6 works) · Gender, Feminism, and Media (5 works) · Latin American and Latino Studies (5 works) · Law (5 works) · Computer Science (4 works) · Media studies (4 works) · Gender Studies (3 works) · History (3 works)