Lourdes Portillo’s film, Senorita Extraviada: Crimes Against Women in Juarez, challenges the representation of these young women being responsible for their own death by using the film to serve as an example for those struggling against justice. The family members of the victims use practices of resilience like religiosity such as crosses for healing the trauma of death (Fregoso 21). For example, in Rosalinda Fregoso’s “Toward a Planetary Civil Society" from Mexicana Encounters: The Making of Social Identities on the Borderland, a photo depicts a black cross on a pink background painted in protest on telephone poles in Ciudad Juárez (Fregoso 21). Rosalinda Fregoso discusses the significance of using the cross as a form of resilience with, “Crosses speaking for justice for eyes that cannot see, for women who can no longer speak, crosses marking the threshold of existence” (Fregoso 30). These crosses serve as a reminder of the injustice present in the government and society. Senorita Extraviada is an activist film because of its crucial role of promoting the formation of feminist and cross-border activism and contributing to the movement for global justice. Art, such as this film, functions as witness by serving to publicize the continuing violence against women through its exhibition at major international film festivals. It aims to move its viewers into political action. Both this film and study help to provide framework for discussions about the continuing violence against women.
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