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Defenderse Del Mundo Con Las Mismas Armas Que El Mundo Usa

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Defenderse Del Mundo Con Las Mismas Armas Que El Mundo Usa Defenderse del mundo con las mismas armas que el mundo usa: Lupe Vélez y Dolores del Río (1921-1946) Maria Paula Orozco Espinel Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2019 Defenderse del mundo con las mismas armas que el mundo usa: Lupe Vélez y Dolores del Río (1921-1946) Maria Paula Orozco Espinel Tesis presentada como requisito parcial para optar al título de: Magister en Estudios de Género Directora: Gisela Cramer Universidad Nacional de Colombia Facultad de Ciencias Humanas, Escuela de Estudios de Género Bogotá, Colombia 2019 A Clara y Camila. Agradecimientos Agradezco a mi directora de tesis, la profesora Gisela Cramer, por sus consejos y por su continua disponibilidad a escucharme y leerme. Ella me acompañó en el proceso de seguir mis intereses investigativos más allá de la disciplina histórica, siempre con mucha calidez y empatía. Los encuentros del grupo “Relaciones Internacionales e Historia Transnacional”, los cuales ella ha hecho posibles, me permitieron desarrollar mi investigación en un espacio abierto a la integración y discusión entre personas de pregrado, maestría y doctorado. Este grupo fue fundamental para desarrollar mis reflexiones. Allí mis compañeras y compañeros —sin olvidar a Jorge Enrique Casilimas Quintero (Q.E.P.D.)— escucharon mis avances y dudas en diferentes ocasiones, y me dieron generosas recomendaciones. De la Escuela de Estudios de Género agradezco a la profesora Tania Pérez-Bustos por haberme leído y comentado en diferentes etapas de mi proceso de investigación y escritura. Le agradezco por haberme mostrado el cuidado, no solo desde la teoría, sino permitiéndome sentirlo durante nuestras conversaciones. También le doy las gracias a la profesora Mara Viveros. Sus clases de teorías feministas, así como el semestre en el cual fue mi profesora de seminario de investigación, enriquecieron profundamente mis perspectivas teóricas. De mis compañeras de la maestría quiero agradecer muy especialmente a María Fernanda Vargas por invitarme a pensar la teoría en diálogo con nuestro presente. Sin las salchipapas compartidas no hubiera aprendido lo mismo durante esta maestría. También agradezco a Yesica Beltrán, quien me acompañó durante los últimos meses de escritura. “Plantar” con ella me ayudó a mantener la motivación en medio del cansancio. Quiero agradecer a la Universidad Nacional de Colombia por el apoyo recibido a través de la “Beca de Posgrado”, el cual fue vital para poder llevar a cabo este trabajo. Asimismo, recibí financiación institucional a través de la “Convocatoria para la movilidad internacional VIII Defenderse del mundo con las mismas armas que el mundo usa de la Universidad Nacional de Colombia 2016-2018”. Este apoyo me permitió realizar trabaJo de archivo durante dos meses entre Junio y agosto de 2018. Sin esta oportunidad no hubiera podido alcanzar muchos de mis objetivos de investigación. En el mismo sentido quiero agradecer al personal de los archivos visitados (Public Library for the Performing Arts, UCLA Film and Televisión Archive, Margaret Herrick Library, Library of Congress y National Archives). Principalmente agradezco a John Calhoun, quien, con mucha amabilidad, me mostró cómo navegar por los diferentes sistemas de búsqueda y clasificación de la colección Billy Rose de la Public Library for the Performing Arts. Agradezco igualmente al profesor Max S. Hering Torres. Mi trabaJo con él en Anuario Colombiano de Historia Social y de la Cultura fue una gran oportunidad de aprendizaJe. Su manera de entender mi rol en la revista permitió que ésta fuera un espacio de acercamiento a las dinámicas de la investigación histórica y del mundo académico. Asimismo, agradezco a mis compañeras del colectivo Género y Seguridad. Ellas hicieron posible llevar a la práctica mi interés por trabajar en la construcción de una universidad libre de violencias basadas en género. Finalmente, de manera muy especial agradezco a mi mamá, Clara, y mi hermana, Camila, por el amor y el apoyo que me han dado siempre, y muy especialmente en los últimos meses. Resumen y Abstract IX Resumen Esta tesis analiza las carreras transnacionales de las actrices mexicanas Lupe Vélez y Dolores del Río, entre su llegada a Hollywood en la década de 1920 y el fin de la Segunda Guerra Mundial. El primer capítulo estudia la construcción de la imagen pública de ambas actrices durante las décadas de 1920 y 1930. El segundo capítulo se centra en Vélez y el rol que asumió en la industria fílmica estadounidense (1939-1943). Finalmente, el tercer capítulo aborda la participación de del Río en la industria fílmica mexicana (1943-1946). Aunque el texto tiene la vida de las actrices como eje central, abarca diferentes niveles analíticos. Estos incluyen el contexto internacional de la Segunda Guerra Mundial, la política estadounidense de la “buena vecindad”, y el contexto nacional de la larga Revolución Mexicana. Cambios en la industria fílmica, incluidas innovaciones tecnológicas, también son tenidos en cuenta en tanto afectaron las carreras de ambas actrices. Encuentro que transformaciones en las ideas en torno a la raza y el género fueron determinantes para que Vélez y del Río tuvieran unas posibilidades específicas de acción, tanto dentro como fuera de las películas. Durante las décadas de 1920 y 1930, la variedad de papeles disponibles para actrices latinoamericanas disminuyó a medida que se reposicionó lo que Albert Memmi denominó “the mark of the plural”: algunos grupos europeos empezaron a ser considerados “blancos” y por tanto sin limitaciones en términos representacionales. Así, para cuando comenzó la Segunda Guerra Mundial, los papeles que Vélez podía interpretar correspondían únicamente a representaciones marcadamente estereotipadas de mujeres latinoamericanas. Aún así, como esta tesis muestra, Vélez usó su creatividad y habilidades de actuación para subvertir parcialmente estos estereotipos. Entretanto, del Río abandonó la industria fílmica estadounidense y regresó a México para continuar allí su carrera. Mi análisis de la carrera de del Río en México me permite integrarme a la discusión académica sobre el impacto de Estados Unidos en la Época de Oro del cine mexicano. Asimismo, mi interés por las ansiedades relacionadas con cuestiones de raza y género me abre espacio para reflexionar sobre el estatus de diferentes grupos marginalizados hoy en día. Palabras clave: muJeres latinoamericanas; representación; Hollywood; Política de la Buena Vecindad; Época de Oro del cine mexicano; Lupe Vélez; Dolores del Río. X Defenderse del mundo con las mismas armas que el mundo usa Abstract This thesis analyzes the transnational careers of Mexican actresses Lupe Vélez and Dolores del Río from their arrival to Hollywood in the 1920’s until the end of World War II. Thus, this work is divided in three parts. Chapter one focuses on the construction of these actresses’ images—both on and off the screen—during the 1920’s and 30’s. Chapter two addresses Vélez and her role in the American film industry (1939–1943). Finally, the last part discusses del Río's participation in the Mexican film industry (1943–1946). Although this thesis uses the actresses’ individual experiences as its main narrative, this work also covers analytical levels such as the international context of World War II and the United States’ “good neighbor policy”, as well as the domestic political landscape during the long Mexican Revolution. Changes in the film industry, including technological innovations, are also taken into consideration, insofar as they affected the careers of these two actresses. I argue that changing ideas about race and gender defined the specific range of opportunities available to Vélez and del Río, both within and outside the films they participated in. During the 1920’s and 30’s, the spectrum of roles available to Latin American actresses decreased as what Albert Memmi called “the mark of the plural” underwent changes: certain European peoples began to be considered as fully “white” and therefore off-bounds in representational terms. Indeed, by the beginning of World War II, the roles offered to Vélez were narrowed down to highly stereotyped and sexist depictions of Latina women. However, this thesis also describes how she managed to subvert such stereotypes to some degree by using her creativity and performing skills to partially overcome racism and sexism. Dolores del Río, meanwhile, abandoned the American film industry and moved back to Mexico. The analysis of del Río's career in Mexico allows us to reopen the discussion about the impact of U.S. foreign policies on the Golden Age of Mexican Cinema. My focus on anxieties related to race and gender present in Mexico at the time, moreover, inspired me to invite my readers to reflect upon the status of some marginalized groups in our days. Key words: Latin-American women; representation; Hollywood; Good Neighbor Policy; Golden Age of Mexican Cinema; Lupe Vélez; Dolores del Río. Contenido XI Contenido Pág. Resumen ........................................................................................................................... IX Lista de imágenes ........................................................................................................... XII Introducción ...................................................................................................................... 1 1. As Brown as the Make-Up Man Made Her for the Role: el paso del cine mudo a las comedias musicales ................................................................................................
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