Commenting on his motivations for his movie Maria Full of Grace (2004), director and writer Joshua Marston explains that he intended to make an educational movie about people who are engaged in international drug trafficking and about dangers that such work entails.1 His choice to depict Colombia's drug industry echoes his deep interest in world politics, Colombia's forty-year civil war and guerilla wars, and country's stagnant economy. With Marston's advocacy of issues in world politics and human rights, HBO, movie's US distributor, continues to add diversity to its playbill.2 Still, despite these noble intentions of promoting issues of Third World countries, movie only partly succeeds in its attempt to humanize drug mule.3 This becomes evident from general response movie received from American viewers: while many are positively captivated by movie, attention of their enamored attachment to movie almost exclusively focuses on Catalina Sandino Moreno, young Colombian actress who plays role of Maria. While her convincing performance certainly aided in successful transference of movie's intended message about complicated entanglements that affect lives of transnational drug mules, ways in which many movie critics (professional and amateur) see in Moreno a representative of Colombia she depicts is rather troublesome.However, as this article argues, such resonance with audience is not entirely beyond Marston's control. On contrary, there are several instances in movie that invite audience to see in Moreno a spokesperson for Colombian social realities, and in Maria a 'windowsQ' into presumed alterity of other (Amireh and Majaj 2). One movie review makes a particularly problematic assumption about movie when it characterizes Maria Full of Grace as a portrayal of the enormous complexity of Hispanic life in America, especially of illegal variety (Brunette). Such is general tenor in responses Marston's movie has received from journalists and online bloggers alike.While this essay does not endorse such reviews, it addresses a selection of such responses for its investigation of degree to which Marston's movie itself suggests an objectified representation of Colombian female drug mules. Such representation, it seems, appears to resonate with American audience more than careful crafting and sensitive gaze with which Marston approaches subject of his film. It is therefore particularly interesting to examine in what way movie objectifies Colombian women by appropriating Colombia as stereotypical global South. Taking its cue from recent discussions in transnational feminism, this essay analyzes a recurrent dilemma in Western representations of Third World through images of woman to emphasize difference between First and Third World for an ultimate projection of American supremacy.Third World Women on American TV-ScreensRecent US feminist culture criticism has increasingly shown interest in transnational feminist issues,4 most particularly in orientalist and essentialist over-generalizations of Third World cultures that US academia, popular culture, and mass media have produced when attempting representations of Third World women.5 Recognizing danger of such generalizations, Rey Chow offers two useful concepts for a critical evaluation of Western mass media's depiction of the other country. In her critique of American coverage of crisis of late 1980s, Chow refers to a sensationalist interest of Western audiences that manifests itself in what she calls watching. Symptomatic of China watching, specifies Chow, are detailed accounts in which US mass media depicts Chinese government as controlling and ruthless, and portrays protesters without respecting their right to anonymity (Third World 83). The second concept, King Kong syndrome, which Chow defines as intricately connected to sensationalism that is at center of China watching (Third World 84), echoes Gayatri Chakravorty Spivak's contention that Third World is often depicted as a site of raw materials that invoke monstrosity, which appears in contrast to First World both as entertainment and as evidence for persisting, Western notion of cultural elevation (In Other Worlds 90). …
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