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Under Exclusive License to Springer Nature Switzerland AG, Part of Springer Nature 2019 M INDEX A Anachronism, 38, 40, 41, 52, 55, 59 Abjection, 186, 189 Andrew, Dudley, 38 Abouseif, Salah, 143 Ánimas Trujano, 45 Acevedo-Muñoz, Ernesto R., 230 Anna Karenina (1878), 222 Aceves Orozco, Victoria, 176 Año bisiesto (Rowe, William), 253 Adaptation, 108–111, 113–116, Antonio das Mortes, 39, 52 118–122, 124–126 Antonioni, Michelangelo, 49 Alcázar, Damián, 140 Anxiety, social and psychological, 306, Alcoriza, Luis, 41, 232, 239 307, 319 Alemán, Julio, 46 Arau, Alfonso, 173 Alemán, Miguel, 73 Argentine Coup, 114 Alienation, 305, 320 Ariel, 3, 8 Allá en el Rancho Grande (1937 flm), Arieles, 112 145, 147, 148, 151, 154, 279 Armendáriz, Pedro, 42, 47 Allegories, function of, 307 Arturo Ripstein habla de su cine con Allegory, 66, 69, 73, 79, 81, 83–85, Emilio García Riera, 117, 139 92–95, 97, 98 Arturo Ripstein: La espiral de la iden- Allen, Woody, 242 tidad, 5, 17 Alvarado, Lorena, 170 Así es la vida, 148, 235, 250–253 Álvarez, Lucía, 172, 178 Así es la vida/Such is life (2000), 202 Amores perros (González Iñarritu, Aub, Max, 2, 244, 245, 247 Alejandro), 229, 239 Auteur/authorship, 107, 110, 125, Amores perros/Loves a Bitch (2000), 2 231–237, 244 © The Editor(s) (if applicable) and The Author(s), 329 under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2019 M. Gutiérrez Silva and L. Duno Gottberg (eds.), The Films of Arturo Ripstein, https://doi.org/10.1007/978-3-030-22956-6 330 INDEX Auteurism, 37, 44, 50, 109, 111, Bloch, Ernst, 38 126 Blood, 198, 199, 201–207, 209–215 Auteurist, 110, 112, 115, 124–126 Blood Simple (Coen Brothers), 242 Author function, 110, 126 Blood wedding, 203, 205, 206, 214 Autobiografía/Autobiography (1971), Bodies, 199, 201, 205–207, 209–212, 18 214 Aventurera, 145, 151 Boleros, 119–121 Ayala Blanco, Jorge, 37, 172, 182, Boom, 109, 119, 126 252 Boquitas pintadas, 115 ¡Ay Jalisco no te rajes!, 145, 177 Botero, Nacha, 10 Boytler, Arcady, 48 Boytler Rososky, Arcady Arcadievic, B 139 Babenco, Hector, 114, 127 Brooks, Peter, 281 Banco Cinematográfco/Banco Brothel as setting, 306, 315 Nacional Cinematográfco Buchenau, Jürgen, 66 (National Film Bank), 2, 43, 71, Buñuel, Luis, 25, 26, 29, 33, 110, 112 111, 148, 149, 153, 154, 230, Baroque and Neo-Baroque, 307, 309, 238, 245, 246, 253 311 Buñuel, Luis Los olvidados (1950), El Barreto, Lima, 40, 52, 53 ángel exterminador (1962), 70 Batalla en el cielo (Reygadas, Carlos), Burton, Julianne, 279 202, 253 Butler, Judith, 110 Baudrillard, Jean, 310, 325 Bazin, André, 36 Beatriz, 73–75, 77, 78 C Beginning and the End, The (novel), Cabaret, 113 278 Cabaretera, 113, 121, 151, 152, 154 Benavides Jr., José, 177 Caciquismo, 118 Benet, Vicent J., 237 Cadena perpetua, 294 Benjamin, Walter, 85, 93, 94, 309, Cadena perpetua/Life Sentence (1978), 321 6 Berg, Charles Ramírez, 66, 230 Caistor, Nick, 114 Bernardos, Graciela, 292 Camera movement, use of, 57 “Bésame mucho”, 120 Canción del alma/Song of the Soul, 177 Bichir, Bruno, 279 Cangaceiro, O, 40, 52, 53 Biennale Award, 3 Cannes Film Festival, 3, 59, 173, 235 Bienvenido/Welcome (Retes, Gabriel), Canoa (Cazals, Felipe), 232 242 Cano, Gabriela, 180 Big Mama’s Funeral, 44 Cárdenas, Enrique, 67 Biopic, 146, 155, 156, 161, 164 Carnival as festival, 324 Bisexuality, 188, 192 Carrera, Carlos, 251 INDEX 331 Carringer, Robert, 124 Como agua para chocolate/Like Water Cartagena de la Indias Film Festival, for Chocolate, 165, 173–175 112 Conacine, 112 Cartagena flm festival, 59 Conacite Dos, 112 Castañón, Carlos, 12, 109, 117 Con los Dorados de Villa/With Villa’s Castells, Isabel, 231 Veterans, 177 Cato, S., 184 Connelly, Caryn, 5, 15, 16, 232, 233, Cazals, Felipe, 1, 41, 112, 230–232, 236, 243 242, 251 Consumption, 316 Censor, 111 Contra hechos no hay palabras/There Centro de Capacitación are no words against facts (1984), Cinematográfca (CCC), 8 19 Centro de Investigación y Enseñanza Cooper, Gary, 55 Cinematográfcas, 117 Corpus Christi massacre, 67, 68 Centro Sperimentale di Cinema, 112 Costumes and camoufage, 307, 308, Centro Universitario de Estudios 324 Cinematográfcos, 41 Crime and Punishment (1866), 141 Chabrol, Claude, 49 Crímen/Crime (1970), 18 Charro, 42, 46, 49, 120 Crisis of machismo, 298, 301 Chesterton, G.K., 73 Crisis of masculinity, 295 Chile, 116 Crónica de una muerte anunciada China poblana, 174 (novella), 54 Chronicle of a Death Foretold (novella), Cronos (Del Toro, Guillermo, 242 54 Cuarón, Alfonso, 1, 3, 233–235, 237, Cien años de soledad/One Hundred 241, 242, 244, 251 Years of Solitude, 125 Cuarteto Anáhuac, 175, 176 Ciencias Naturales/Natural Science Cultural ‘mafas’, 112 (1975), 19 Ciencias Sociales/Social Science (1975), 19 D “Cinema and the Novel”, 114 Damaged macho, 295, 300 “Cine mexicano y la crisis, El”, 45 de Anda, Raúl, 177 Cisgender, 6 Death, 198–202, 204, 206, 207, Claustrophobic spaces, 306 209–211, 213, 214 Clément, Catherine, 180 de Carvajal, Luis, 12 Cobo, Roberto, 6, 118, 149, 151, Defective macho, 282 153, 154 de la Madrid, Miguel, 2 Coco (2017), 4 de la Mora, Sergio, 6, 9, 13, 71, 72, Coen Brothers (Joel and Ethan), 241, 169, 230, 237 242 de la vega, Eduardo, 71, 72 “Comedia ranchera”, 147, 149, 151, Del Hierro Brothers, The, 40 158 del Río, Dolores, 32, 33, 42 Commodity fetish, the body as, 308 del Toro, Guillermo, 1, 3 332 INDEX de Maupassant, Guy, 7 El coronel no tiene quien le escriba/No Demme, Jonathan, 242 One Writes the Colonel (1961), 7, Derrida, Jacques, 85, 90, 93, 94, 98 27, 246–248 Desire and passion, 312, 313, 316, El coronel no tiene quien le escriba/No 318, 320, 323 One Writes the Colonel (1999), 18 Destructive mother, 302 El diablo entre las piernas/The Devil De todo como en botica (1984), 18 Between the Legs (2019), 2, 18 Díaz Ordaz, Gustavo, 68, 69 El espinazo del diablo (del Toro, Díaz, Porfrio, 160 Guillermo), 246 Díaz Yanes, Agustín, 244 El evangelio de las maravillas (1998), Disillusionment, 306, 309 248, 249, 251, 253 Disney, 4 El evangelio de las maravillas/Devine D’Lugo, Marvin, 126 (1997), 18 Domesticity, spaces of, 315 “El gallo de oro” (1958), 2, 7, 8, 133 Don, Alejo, 113 El gallo de oro (1964), 29, 44, 134, Doña Bárbara (flm), 48 155 Donoso, José, 7, 12, 108–114, El Greco, 114 116–122, 124–127, 149, 278 El Heraldo de México, 176 Dostoyevsky, 141 El imperio de la fortuna/The Realm Dragão da maldade contra o santo of Fortune (1986), 13, 108, 155, guerreiro, O, 39 170, 278, 280, 295 DVD, 117 “El impostor”, 115 Elizondo, Salvador, 43, 45 El laberinto de la soledad, 189 E El laberinto del fauno (del Toro, Echeverría, Luis, 2, 41 Guillermo), 246 Echeverría, Rodolfo, 112 Ellis, Havelock, 73 Egurrola, Julieta, 278 El lugar sin límites/Hell has no limits, El ángel exterminador/The 1966 (Novel), 7, 12 Exterminating Angel, 30, 149 El lugar sin límites/The Place Without El beso de la mujer araña, 112–115 Limits (1977), 2, 36, 40, 41, 108, El borracho/The Drunk (1976), 19 109, 111–121, 123–127, 145, El callejón de los milagros (Fons, 149, 151–155, 158, 164, 165, Jorge), 238, 240, 247 230, 232, 233, 237, 249, 250, El carnaval de Sodoma, 249–253 278, 294, 301 El carnaval de Sodoma/The Carnival El náufrago de la calle of Sodom (2006), 18 Providencia/The Castaway of El castillo de la pureza/The Castle of Providence Street (1971), 19 Purity (1972), 2, 25, 41, 65–70, El otro, 115 72–74, 77, 79, 81, 111, 118, El otro/The Other (1984), 7, 18 175, 204, 294 El primer cigarro/The First Cigarette El charro, 28 (1957), 18 INDEX 333 “El relicario”, 120, 121 Film festivals, 235, 246, 249 Elsaesser, Thomas, 281, 303 FilminLatino, 4 El Santo Ofcio/The Holy Offce Films by Arturo Ripstein, 26 (1973), 2, 111, 118 Fincher, David, 242 El topo (Jodorowsky, Alejandro), 39, First Experimental Cinema 232 Competition, 41 El Zorro de Jalisco/The Zorro from Flashbacks, use of, 125, 149, 150, 258 Jalisco, 177 Flaubert, Gustav, 7 En este pueblo no hay ladrones (flm), 44 Flores Aceves, María de la Luz, 176 Enlightenment, 306 “Flores negras”, 120 Entraigües, Jimmy, 111, 118 Flor Silvestre/Wild Flower, 47, 177, Español/Spanish (1975), 19 279 Esperpentismo, 116 Flores y Escalante, J., 178 Esterrich, Carmelo, 233 Folklore, 148 Estilo bravío, 171, 187, 191 Fons, Jorge, 1, 112, 230, 231, 238, Estrada, Luis, 241, 251 240, 242, 247 Estrella, Alberto, 278 For a Fistful of Dollars, 51 Estudios Churubusco, 42, 111, 112 Ford, John, 30 Exorcismos/Exorcism (1970), 18 Forster, Ricardo, 85, 86 Foucault, Michel, 110 Foxtrot/The Far Side of Paradise F (1975), 16, 111, 118 Failed macho, 302 French Nouvelle Vague, 30 Failure, uses of, 306 Freud, Sigmund, 9, 306, 308, 314, 325 Familia de tantas, Una, 279 Frida, naturaleza viva, 179 Fantasies, 310, 314 Fuentes, Carlos, 7, 10, 25, 28, 36, 40, Fargo (Coen Brothers), 242 44, 49, 52, 54, 111, 119, 133, Father, 66, 68–70, 75–78 278 Faust, 316, 321 Fuentes, Fernando de, 48, 53 Fear and violence, 306–308, 311, 314, Funerales de la Mamá Grande, Los, 44 316, 326 Fellini, Federico, 30 Female body, 199, 210, 213, 214 G Feminicide, 199, 208, 209, 213 Gabriel, 65, 66, 68–70, 72–79, 81 Femininity, 309, 312 Galindo, Alejandro, 175 Fernández, Emilio, 42, 47, 53, 60, García Canclini, Néstor, 38 177 Garciadiego, Paz Alicia, 7, 12–14, Ferrocarriles Nacionales de México, 71 108, 123, 133, 139, 170, Festival Internacional de Cine en 173–175, 179, 183, 186, 188, Guadalajara, 169 190–192, 221, 231–233, 236– “Fichera”, 152–154 238, 240–243, 245, 247, 250, Figueroa, Gabriel, 33, 42, 47, 48 252, 253, 278, 280, 288, 295 334 INDEX García Márquez, Gabriel, 7, 10, 25, Handheld camera, use of, 56, 60 27, 28, 36, 40, 44, 48–51, 53, Havana Film Festival, 8, 173, 235 54, 58, 133, 246, 247, 249, 278 Hayek, Salma, 238, 240, 246, 247 García Orozco, A., 171 Hell, 307, 316, 321, 325 García Riera, Emilio, 36, 43, 48, 49, Hermanas Gómez y Hernández, 121 51, 60, 111, 117, 120, 125, 139 Hermanos del Hierro, Los, 40, 45–48 Garro, Elena, 7, 278 Hermosillo, Jaime Humberto, 1, 41, Gavaldón, Roberto, 29, 133 112, 230 gay, 109, 113, 114, 119, 126 High Noon, 54, 55 Gaze, 5, 6, 9, 10, 13 Hinojosa Córdova, Lucila, 230 Gaytán, Sarita, 160 Historia documental del cine mexicano, Generelo Lanaspa, Jesús, 117, 125 139 Getino, Octavio, 109 H.O.
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