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La India María : Mexploitation and the Films of María Elena Velasco / Seraina Rohrer.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2017Description: 1 online resource (220 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781477313466
Subject(s): DDC classification:
  • 791.43/653
LOC classification:
  • PN1995.9.S284 R64 2017
  • PN1995.9.S284 R64 2017
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter 1. La India María: From Vaudeville to the Big Screen -- Chapter 2. Mexploitation -- Chapter 3. Box-Office Moneymakers and Small-Screen Hits -- Chapter 4. Hated by Critics, Loved by the People -- Chapter 5. Crossing Borders: India María’s Diaspora -- Epilogue. India María and Mexploitation Today -- Overview of India María Films -- Filmography -- Notes -- Bibliography -- Index
Summary: La India María—a humble and stubborn indigenous Mexican woman—is one of the most popular characters of the Mexican stage, television, and film. Created and portrayed by María Elena Velasco, La India María has delighted audiences since the late 1960s with slapstick humor that slyly critiques discrimination and the powerful. At the same time, however, many critics have derided the iconic figure as a racist depiction of a negative stereotype and dismissed the India María films as exploitation cinema unworthy of serious attention. By contrast, La India María builds a convincing case for María Elena Velasco as an artist whose work as a director and producer—rare for women in Mexican cinema—has been widely and unjustly overlooked. Drawing on extensive interviews with Velasco, her family, and film industry professionals, as well as on archival research, Seraina Rohrer offers the first full account of Velasco’s life; her portrayal of La India María in vaudeville, television, and sixteen feature film comedies, including Ni de aquí, ni de allá [Neither here, nor there]; and her controversial reception in Mexico and the United States. Rohrer traces the films’ financing, production, and distribution, as well as censorship practices of the period, and compares them to other Mexploitation films produced at the same time. Adding a new chapter to the history of a much-understudied period of Mexican cinema commonly referred to as “la crisis,” this pioneering research enriches our appreciation of Mexploitation films.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477313466

Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter 1. La India María: From Vaudeville to the Big Screen -- Chapter 2. Mexploitation -- Chapter 3. Box-Office Moneymakers and Small-Screen Hits -- Chapter 4. Hated by Critics, Loved by the People -- Chapter 5. Crossing Borders: India María’s Diaspora -- Epilogue. India María and Mexploitation Today -- Overview of India María Films -- Filmography -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

La India María—a humble and stubborn indigenous Mexican woman—is one of the most popular characters of the Mexican stage, television, and film. Created and portrayed by María Elena Velasco, La India María has delighted audiences since the late 1960s with slapstick humor that slyly critiques discrimination and the powerful. At the same time, however, many critics have derided the iconic figure as a racist depiction of a negative stereotype and dismissed the India María films as exploitation cinema unworthy of serious attention. By contrast, La India María builds a convincing case for María Elena Velasco as an artist whose work as a director and producer—rare for women in Mexican cinema—has been widely and unjustly overlooked. Drawing on extensive interviews with Velasco, her family, and film industry professionals, as well as on archival research, Seraina Rohrer offers the first full account of Velasco’s life; her portrayal of La India María in vaudeville, television, and sixteen feature film comedies, including Ni de aquí, ni de allá [Neither here, nor there]; and her controversial reception in Mexico and the United States. Rohrer traces the films’ financing, production, and distribution, as well as censorship practices of the period, and compares them to other Mexploitation films produced at the same time. Adding a new chapter to the history of a much-understudied period of Mexican cinema commonly referred to as “la crisis,” this pioneering research enriches our appreciation of Mexploitation films.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)