Abstract
AbstractThrough a cultural studies approach to identity and spatial studies, this article considers how the spaces and communities of “Panorama” of The Romanoffs series paint a fuller visual portrait of contemporary Mexico City then first meets the eye. For every scene that celebrates the wealth of Mexico City and tourist landmarks, there is a parallel one that shows Mexico's poverty or working‐class communities. “Panorama” is a love story to Mexico City that showcases the many identities contained in the multifaceted capital, exposes injustice, and ultimately aligns itself with those who are disenfranchised.
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