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Contemporary Mexican Cinema, 1989-1999 : History, Space and Identity.
This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. Accordingly, the study is divided into three sections, representing the key generic discourses that frame the films' narratives...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Lewiston :
Edwin Mellen Press,
2007.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Title Page; Copyright Page; Table of Contents; List of Illustrations; Preface; Foreword; Acknowledgements; Introduction- Mexican Filmmaking in the 1990's; Chapter 1- Political Histories: Three Case Studies; 1. Context(s); 2. Rojo amanecer (1989); 3. EL Bulto (1991); 31. Past and Present Collide; 3.2 Salinas' Mexico; 3.3 Political Revisions; 4. La Ley de Herodes (1999); 4.1 Political Stings; 4.2 Murder, Slander and Satire; 4.3 Political Maneuvers; Chapter 2- Rewriting the Conquest: Nicolas Exhvarria's Cabeza de Vaca (1992) and Salvador Carrasco's La Otra Conquista (1999).
- 1. Historical Context(s)1.1 The Year 1992; 2. Cabeza de Vaca (1992); 2.1 Truth and Lies; 2.2 Identity Crises; 2.3 Assimilation; 2.4 Conflicting Codes; 3. La Otra Conquista (1999); 3.1 The Spiritual Conquest; 3.1.1 The Mother; 3.1.2 The War of Images; 4. Reversing the Negative Paradigm; 4.1 This is my Body, this is my Blood; 5. A Hybrid Nation; Chapter 3- Re-defining la madre mexicana in Maria Novaro's Lola (1989); 1. Women and Filimmaking in Mexico: An Overview; 1.1 Sociohistorical Change(s); 2. Women Directors of Contemporary Mexican Cinema; 2.1 Female Narratives on the Contemporary Screen.
- 3. The Creation of an Idol: Sara Garcia and la madre mexicana3.1 Mexico's Mothering Complex: An Overview; 4. Motherhood Re-Visited: The Case of Maria Novaro's Lola (1989); 4.1 The Conflicts of Motherhood; 4.2 Mothers and Daughters; 4.3 Mexico's sagrada familia Demystified; Chapter 4- Retorno el arrabal: The Case of Dana Rotberg's Angel de Fuego (1992); 1. Context(s); 2. Dana Rotberg and Angel de fuego (1992); 3. Three Different Visions of the arrabal in Mexican Cinematic History; 3.1 The Good: Rodriguez's 'Valle de Lagrimas / Valley of Tears' vs Galindo's "Social Realism."
- 3.2 The Bad: Benevolent Poverty on the Screen3.3 The Ugly: Bunel's Demystification of the arrabal; 3.3.1 Los olvidados (1950); 3.4 Rotberg's re-vision of the arrabal- Social/Poltical Contexts; 3.4.1 The arrabol Re-visited; 4 Representations of the Body in Angel de fuego- Body Vs Soul; 4.1 The Body as Sin; 4.1.1 The Body as Text; Chapter 5- Re-Mapping the Boderlands: Maria Novaro's El Jardin del Eden (1994); 1. Context(s); 1.1 El jardin del Eden (1994); 2. Geographies of Location: Borders and Boundaries- Physical Borders; 2.1 Boundaries- Geographical Boundaries; 2.1.1 Other Boundaries.
- 3. Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen.