The specific visuality of women of the global South in the media of the global North

This paper explores the intersection of gender and neoliberal globalization through an analysis of how global North media constructs "third-world" femininities. It examines mainstream films and TV dramas (Bordertown, Dirty Pretty Things, Mail Order Wife, Desperate Housewives) to understand how marginalized women are (re)imagined within globalization processes. The study focuses on stereotypical representations of women of the global South as factory workers, mail-order brides, and domestic workers, considering intersecting factors like race, class, gender, ethnicity, and national identity. The analysis aims to reveal the specific visuality of women of the global South within the context of global capitalist expansion and the circulation of representational practices tied to neoliberal globalization discourses. The selection of these American and British films is justified by the rise of neoliberal economic systems in the 1980s and the subsequent globalization, facilitated by technological advancements and the end of the Cold War. These films center women from the Global South, demonstrating the feminization of labor and migration, and illustrating the integration of material and symbolic aspects of globalization.

The paper draws on transnational feminist approaches, arguing that the problems of globalization stem from its neoliberal organization, not globalization itself. Neoliberal globalization tends to exacerbate economic inequality, harming women in the global South. Transnational feminism, unlike earlier "global sisterhood" approaches, prioritizes the perspectives of women of color and women from the global South, acknowledging intersectional differences. The study emphasizes the importance of decolonizing feminist scholarship to uncover marginalized women's realities and critique Western biases. Eurocentric, imperialist perspectives are embedded in globalization discourses, perpetuating stereotypical representations of women of the global South, reflecting the enduring power of colonial and imperial discourses.

This paper utilizes a transnational feminist critique of visual culture, focusing on femininities as sociocultural constructs. Visual culture is considered a primary site for cultural interaction and identity formation, given the prominence of visual media in global postmodernity. The study analyzes popular culture representations of marginalized women's communities within the framework of visual culture studies, encompassing film theories, cultural studies, and art history. The analysis examines how the "specific visuality" of global South women in the context of globalization reflects intersectional oppression and positions them materially and imaginarily. The concept of femininities, in contrast to studies focused on masculinities, illuminates the marginalization of women's experiences and challenges androcentric discourses. The study also considers the link between gender, the body, and dominant discourses, particularly in relation to the exploitation of women's labor and the issue of sexual violence. The racialized feminization of women's labor is highlighted, showing how women's work is often perceived as more flexible and docile, justifying their exploitation.

The analysis of selected films reveals several key representations of women of the global South. In *Bordertown* and *Dirty Pretty Things*, women are depicted as cheap labor in factories, often linked to sexual violence. The films show the exploitation of low-cost female labor by transnational corporations and the vulnerability of women to exploitation and human rights violations. The sexual violence against female workers symbolizes the masculine orientation of neoliberal globalization discourses. While some women are portrayed as passive victims, others demonstrate agency and resilience. *Mail Order Wife* presents the stereotype of the mail-order bride, oscillating between the "Lotus Blossom Baby" and "Dragon Lady" tropes, reflecting historical stereotypes of Asian women and highlighting the commodification of women's bodies. *Desperate Housewives* illustrates the racialized feminization of labor by depicting women of the global South as domestic workers, showcasing their vulnerability and exploitation. These films highlight commodification, sexualization, and abjection of women's bodies within the context of global capitalism, often using bodily substances and the imagery of the abject to emphasize the marginalized status and the violation of these women's bodily integrity. The films’ representation of the corpses of victims underscores the ultimate abjection and the connection between economic and sexual exploitation.

The findings address the research question by demonstrating how global North media representations construct and perpetuate specific visuals of women from the global South, reinforcing existing power imbalances and stereotypes. The significance of the results lies in highlighting the complex interplay between neoliberal globalization, gendered oppression, and colonial legacies. The analysis reveals how these representations contribute to the marginalization and exploitation of women in the global South, often reducing them to objects of commodification and sexual desire. The discussion acknowledges the agency and resilience of some women in these narratives, while emphasizing the systemic issues underlying their experiences. The study's relevance to the field lies in its contribution to transnational feminist scholarship, furthering understanding of how global media shapes perceptions and reinforces power dynamics.

This study offers a transnational feminist critique of the specific visuality of women from the global South in global North media, demonstrating the intersection of neoliberal globalization discourses, colonial legacies, and gendered oppression. The analysis highlights the commodification, sexualization, and abjection of these women’s bodies while acknowledging their agency and resilience. Future research could explore the evolving representations of women from the global South in media, examining changes in portrayals and the impact of evolving global political and economic contexts. Furthermore, research could investigate the role of audience reception and interpretation in shaping the effects of these representations.

The study’s focus on a limited selection of films and television shows might not fully capture the diversity of representations of women from the global South in global North media. Additionally, the reliance on textual analysis might not fully address the complex interplay between media representations and audience reception. Further research incorporating audience studies and a broader range of media texts would enhance the generalizability of the findings.