ABSTRACT: This article analyzes Rhymes for Young Ghouls (Jeff Barnaby, 2013) and La teta asustada ( The Milk of Sorrow , Claudia Llosa, 2009) — two coming-of-age films featuring girls whose mothers’ corpses provide opportunities to confront legacies of anti-Indigenous violence, heal from intergenerational trauma, and pursue livable Indigenous futures. It uses Indigenous feminist scholarship, existential phenomenology, and a decolonial critique of object relations theory to argue that these films must also be read for the potential parallel development they offer inscribed non-Indigenous spectators.
Desirée de Jesús (Wed,) studied this question.
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