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| Author | : Joanne Hershfield |
| Publisher | : University of Arizona Press |
| Total Pages | : 176 |
| Release | : 1996-11 |
| Genre | : History |
| ISBN | : 9780816516377 |
"Arranged chronologically, this updated and revised edition covers the scope of Mexican cinema. The main films and their directors are discussed, together with the political, social and economic context of the times. Appendices offer selected filmographies and useful addresses"--Provided by publisher.
| Author | : Joanne Hershfield |
| Publisher | : University of Arizona Press |
| Total Pages | : 172 |
| Release | : 1996-11-01 |
| Genre | : History |
| ISBN | : 0816545030 |
The female image has been an ambiguous one in Mexican culture, and the place of women in Mexican cinema is no less tenuous--yielding in the films of Luis Buñuel and others a range of characterizations from virgin to whore, mother to femme fatale. Mexican Cinema/Mexican Woman, 1940-1950 examines a singular moment in the history of Mexican film to investigate the ways in which the cinematic figures of woman functioned to mediate narrative and social debates. The book raises new questions about the relations between woman and cinema. It will have broad appeal among students and scholars of film, feminist studies, and Latin American studies, as well as those interested in the popular culture of Mexico. Considering the historical and cultural representations of sexual difference as well as race and class, Hershfield closely examines the portrayal of women and gender identity in six films: María Candelaria (Emilio Fernández, 1943), Río Escondido (Emilio Fernández, 1947), Distinto amanecer (Julio Bracho, 1943), Salón México (Emilio Fernández, 1948), Doña Bárbara (Fernando de Fuentes, 1943), and Susana (Carne y demonio) (Luis Buñuel, 1950).
| Author | : Isabel Arredondo |
| Publisher | : McFarland |
| Total Pages | : 233 |
| Release | : 2013-12-19 |
| Genre | : Performing Arts |
| ISBN | : 1476602387 |
How were femininity and motherhood understood in Mexican cinema from the 1940s to the early 1990s? Film analysis, interviews with filmmakers, academic articles and film reviews from newspapers are used to answer the question and trace the changes in such depictions. Images of mothers in films by so-called third-wave filmmakers (Busi Cortes, Maria Novaro, Dana Rotberg and Marisa Sistach) are contrasted with those in Mexican classical films (1935-1950) and films from the 1970s and 1980s. There are some surprising conclusions. The most important restrictions in the depiction of mothers in classical cinema came not from the strict sexual norms of the 1940s but in reactions to women shown as having autonomous identities. Also, in contrast to classical films, third-wave films show a woman's problems within a social dimension, making motherhood political--in relation not to militancy within the left but to women's issues. Third-wave films approach the problems of Latin American society as those of individuals differentiated by gender, sexuality and ethnicity; in such films mothers are citizens directly affected by laws, economic policies and cultural beliefs.
| Author | : María Cristina C. Mabrey |
| Publisher | : Routledge |
| Total Pages | : 325 |
| Release | : 2022-04-15 |
| Genre | : History |
| ISBN | : 1000574695 |
The purpose of this edited volume is to explore the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950, an important period that signified the rise and consolidation of media technologies. Their pioneering work as film stars, writers, directors, designers and producers as well as their endeavors to bridge the gap between the avant-garde and mass culture are significant aspects of this collection. This intersection will be carefully nuanced through their cinematographic production, performances and artistic creations. Other distinctive features pertain to the interconnection of gender roles and moral values with ways of looking, which paves the way for realigning social and aesthetic conventions of femininity. Based on this thematic and diverse sociocultural context, this study has an international scope, their main audiences being scholars and graduate students that pursue to advance interdisciplinary research in the field of feminist theory, film, gender, media and avant-garde studies. Likewise, historians, art and literature specialists will find the content appealing to the degree that intermedial and cross-cultural approaches are presented.
| Author | : Mónica García Blizzard |
| Publisher | : State University of New York Press |
| Total Pages | : 209 |
| Release | : 2022-04-01 |
| Genre | : Performing Arts |
| ISBN | : 143848805X |
The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of Indigeneity in the national culture. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Emory University and the Andrew W. Mellon Foundation. Learn more at the TOME website, available at: https://www.openmonographs.org/. It can also be found in the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7153
| Author | : Andrea Noble |
| Publisher | : Psychology Press |
| Total Pages | : 248 |
| Release | : 2005 |
| Genre | : History |
| ISBN | : 9780415230094 |
Examining key film texts and genres, and set in a broad historical and theoretical context, this student-friendly study provides a thorough and detailed account of the vital and complex relationship between cinema and national identity in Mexico.
| Author | : Jeremy Barham |
| Publisher | : Taylor & Francis |
| Total Pages | : 842 |
| Release | : 2023-12-22 |
| Genre | : Music |
| ISBN | : 0429997019 |
In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history.
| Author | : Paulo Antonio Paranaguá |
| Publisher | : |
| Total Pages | : 344 |
| Release | : 1995 |
| Genre | : History |
| ISBN | : |
With essays by the most authoritative scholars, this unique study and reference work is the first English-language survey and analysis of Mexican cinema. The book provides extensive coverage of the delirious melodramas (of 'El Indio' Emilio Fernandez and Roberto Gavaldon, many shot by the supremely romantic cinematographer Gabriel Figueroa) and the contemporary successes of Jaime Humberto Hermosillo. It also includes the Mexican work of Luis Bunuel, the surreal, intense dramas of Felipe Cazals and Arturo Ripstein, the innovative work of Paul Leduc, and much more. This lavishly illustrated book also contains notes on over 150 individual films, an extensive dictionary of directors and other personalities, together with filmographies and an extensive chronicle of Mexico's political, cultural and cinematic history in the twentieth century.
