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020 _a9780292794702
_qPDF
024 7 _a10.7560/712966
_2doi
035 _a(DE-B1597)9780292794702
035 _a(DE-B1597)588196
035 _a(OCoLC)1280944533
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1993.5.M4
_bM67 2006
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.43/6521
_222
084 _aonline - DeGruyter
100 1 _ade la Mora, Sergio
_eautore
245 1 0 _aCinemachismo :
_bMasculinities and Sexuality in Mexican Film /
_cSergio de la Mora.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2006
300 _a1 online resource (256 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tPreface. How I Too Came to Love Pedro Infante --
_tAcknowledgments --
_tIntroduction. Macho Nation? --
_t1. “Midnight Virgin”: Melodramas of Prostitution in Literature and Film --
_t2. Pedro Infante Unveiled: Masculinities in the Mexican “Buddy Movie” --
_t3. The Last Dance: (Homo)Sexuality and Representation in Arturo Ripstein’s El lugar sin límites and the Fichera Subgenre --
_t4. Mexico’s Third-Wave New Cinema and the Cultural Politics of Film --
_tEpilogue. Mexican Cinema is Dead! Long Live Mexican Cinema! --
_tNotes --
_tWorks Consulted --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aAfter the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aMasculinity in motion pictures.
650 0 _aMen in motion pictures.
650 0 _aMotion pictures
_zMexico.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/712966
856 4 0 _uhttps://www.degruyter.com/isbn/9780292794702
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292794702/original
942 _cEB
999 _c188800
_d188800