Abstract
A close reading of Ulrich Seidl’s Import Export (2007), a film on labor migration between eastern and western Europe, provides an international frame for revisiting the second-wave feminist debate on housework. In the last two decades, “women’s work” has been outsourced transnationally on a large scale, leading to the emergence of an international private sphere inhabited by a new housewife figure. The feminist housework debate of the 1970s supplies the groundwork for a critique of autonomist neo-Marxism that foregrounds the role of language, translation, and visual gesture in the contemporary import/ export of labor. (AP)
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