Dora the Explorer and the global economy

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Check out this wonderfully enlightening piece from Bitch Magazine about the socioeconomic realities of U.S. consumer relationships with Latina labor, in contrast to the unreality American parents love about the hit children’s cartoon Dora the Explorer. Here’s just a sample:

Throughout her adventures, Dora enjoys an unusual geographic mobility, crossing landscapes but never distinct borders, always returning home rather than staying somewhere new. Her animated domain is devoid of references to social class, labor, or a currency-based economy.

But in reality, Dora is less a global citizen than a global commodity, a marketing dream of multicultural merchandise that simultaneously appeals to Anglo and Latino parents and children. Ultimately, Dora is the product of a global television market and serves the transnational capital interests of Viacom, which owns Nickelodeon, and Mattel, whose subsidiary Fisher-Price makes Dora toys that are sold worldwide. As the Campaign for a Commercial-Free Childhood documents, the Dora franchise has earned over $3.6 billion dollars in retail sales since debuting in 2000.

Dora’s starring role in the lucrative global television market stands in sharp contrast to the role real Latinas have played in a more literal form of television production, in which maquiladora trumps exploradora. First created in the 1960s, maquiladoras are foreign-owned Mexican factories in which imported raw materials and components are assembled into products that are exported for sale. Women constitute about 80 percent of the maquiladora workforce; according to Maquilapolis, a documentary by Vicky Funari and Sergio De La Torre, women are recruited because factory owners consider them docile low-wage laborers.

Ah, I just love hard-hitting, pop cultural criticism.

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