Representations of prostitution are often used to negotiate changing meanings of gender and economy during times of turmoil. This dissertation examines the Brazilian films, O Céu de Suely (2006), Baixio das Bestas (2007) and Deserto Feliz (2008) and two Mexican films El Callejón de los Milagros (1995) and ¿Quién diablos es Juliette? (1996) to better understand how they deal with representations of prostitution in a rapid transition to neoliberalism. In order to better understand this process, I develop a concept called "incomplete resistance." This term connotes the practice of denouncement without indictment. That is, the existence of prostitution and the conditions that compel women to sell sex are lamented, but without identifying the real underlying causes. Additionally, several of the films examined in this dissertation decry the conditions that lead women to be prostituted, but simultaneously encourage the viewer to take pleasure in the process. By contextualizing the films within the changing film industries of Brazil and Mexico, I seek to illuminate the connections between gender, prostitution films and governmentality.
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机译：在动荡时期，卖淫代表经常被用来协商性别和经济不断变化的含义。本论文研究了巴西电影OCéude Suely（2006），Baixio das Bestas（2007）和Deserto Feliz（2008）以及两部墨西哥电影ElCallejónde los Milagros（1995）和“Quiédiablos es Juliette？ （1996年）以更好地了解他们在向新自由主义的快速过渡中如何处理卖淫代表。为了更好地理解此过程，我提出了一个名为“不完全抵抗”的概念。该用语表示无公诉的谴责行为。也就是说，人们对卖淫的存在和强迫妇女卖淫的条件感到遗憾，但是并没有找到真正的根本原因。此外，本文研究的几部电影都谴责了导致女性卖淫的条件，但同时也鼓励观看者在这一过程中取乐。通过在不断变化的巴西和墨西哥电影业中对电影进行情境化，我试图阐明性别，卖淫电影与政府之间的联系。
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