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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Spa 248/Flm 495 Mexican Culture Through Film
SPA 248/FLM 495 MEXICAN CULTURE THROUGH FILM Course location: Cuernavaca, Mexico with excursions to Mexico City Fall semester only Prerequisites: for SPA 248: SPA 111 or instructor’s permission; for FLM 495: none. Course Description Welcome to SPA 248/FLM 495! This course is designed for both language learners and film Students with an interest in Mexican Cinema and Cultures. Both intermediate Spanish language learners and beginning Spanish language learners will develop their film and language literacy through the lens of Mexican filmmaking. The course may be taken in Spanish or in English, and course materials will be taught and offered in both Spanish and English to include a range of language comprehension. The course counts as an elective toward the Spanish major and minor, as well as a Film Studies and Communication Studies elective. The course will present a wide range of Mexican films from the Mexican Golden Age of Cinema “Cine de Oro” to the contemporary documentary auteur revolution. Films will feature diverse cast of characters including: Malinche, El Santo of Lucha Libre, Frida Kahlo, Yalitzia Aparacio, Cantinflas, Pedro Infante, Emilio “El Indo” Hernandez and Gael Garcia Bernal among many others. Course Objectives The course consists primarily of watching and discussing films in Spanish. The main objectives are: to provide an overview of the contemporary cinema of Mexico and the vocabulary to discuss it critically. to explore the cultural and historical dimensions of Mexican film and understand the major differences between the latter and the mainstream American film industry. to appreciate the complexity of Mexican cultures through the analysis of Mexican films. -
La Frontera- the US Border Reflected in the Cinematic Lens David R
1 La Frontera- The U.S. Border Reflected in the Cinematic Lens David R. Maciel1 Introduction The U.S.-Mexico border/la frontera has the distinction of being the only place in the world where a highly developed country and a developing one meet and interact.2 This is an area of historical conflict, convergence, conflict, dependency, and interdependency, all types of transboundary links, as well as a society of astounding complexity and an evolving and extraordinarily rich culture. Distinct border styles of music, literature, art, media, and certainly visual practices have flourished in the region. Several of the most important cultural and artistic-oriented institutions, such as universities, research institutes, community centers, and museums are found in the border states of both countries. Beginning in the late 19th century and all the way to the present certain journalists, writers and visual artists have presented a distorted vision of the U.S. - Mexican border. The borderlands have been portrayed mostly as a lawless, rugged, and perilous area populated by settlers who sought a new life in the last frontier, but also criminals and crime fighters whose deeds became legendary. As Gordon W. Allport stated: 1 Emeritus Professor, University of New Mexico. Currently is Adjunct Professor at the Centro de Investigación y Docencia Económicas (CIDE) in Mexico City. 2 Paul Ganster and Alan Sweedler. The United States-Mexico Border Region: Implications for U.S. Security. Claremont CA: The Keck Center for International Strategic Studies, 1988. 2 [Stereotypes] aid people in simplifying their categories; they justify hostility; sometimes they serve as projection screens for our personal conflict. -
Nostalgia for El Indio
FILMS NOSTALGIA FOR EL INDIO Fernando Fuentes This biography of Emilio Fernández, pacity creates a clear photographic Origins, Revolutions, Emigration one of Mexico's most famous film di- identity whether he portrays the Me- rectors of the so-called Golden Age of xican countryside or the urban scene. Emilio Fernández, known in the film Mexican film, was written with the All the solemn moments in his world as El Indio, was born in what is analytic professionalism and historic films are impregnated by a nostalgia now a ghost town but was part of a vision characteristic of Emilio García for the Revolution on the nationalist mining zone called Mineral de Hon- Riera. level, and by nostalgia for virginity do, in the municipality of Sabinas, In his detailed revision of El Indio on an emotional level, whether the Coahuila. He was the only child of Fernández' cinematographic work, film is set in the violence of the pro- Sara Romo, a Kikapoo Indian, and the author provides a critical evalu- vinces or in urban cabarets or bur- of Emilio Fernández Garza. ation of the film maker's produc- dels. The rhythm of his stories is He participated in the Revolution tion, and generally refers exactly to marked by impulses of a energetic as a boy, or at least, he dedicated his sources, be these material from sensibility and an admirable artistic himself to taking mental photos: "I newspapers, magazines or books, or capacity. had what all boys dream about: a pis- testimonies of those who lived or El Indio Fernández is a poet of tol, a horse and a battleground. -
Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries. -
List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
Acevedo-Muñoz 1 Los Olvidados
Acevedo-Muñoz 1 Los olvidados: Luis Buñuel and the Crisis of Nationalism in Mexican Cinema by Ernesto R. Acevedo-Muñoz The University of Iowa Prepared for delivery at the 1997 meeting of the Latin American Studies Association, Continental Plaza Hotel, Guadalajara, Mexico April 17-19, 1997 Acevedo-Muñoz 2 Los olvidados: Luis Buñuel and the Crisis of Nationalism in Mexican Cinema The release of Los olvidados in 1950 is one of the historical markers of what I call the “crisis of nationalism” in Mexican cinema. The film was widely received as the “return” of Buñuel by European critics after the period of unnoticeable activity between 1932, the year of Las Hurdes, and 1946, the year of Buñuel’s incorporation into Mexican cinema and of the production of Gran Casino, which led to Buñuel’s Mexican career of almost twenty years and almost twenty movies. Nevertheless, it is known that at the time of the premiere of Los olvidados in Mexico City (November 9, 1950) the movie was mainly taken as an insult to Mexican sensibilities and to the Mexican nation. The stories of the detractors of Los olvidados are, of course, many and well documented.1 As it was often to be the case with Buñuel’s Mexican period, it took for Los olvidados to gather some prestige abroad before it was welcome in Mexico City. After its triumph at Cannes, where Buñuel won the best director award, Los olvidados had a successful season in a first run theater. Acevedo-Muñoz 3 Buñuel’s relationship with Mexican cinema went through several different stages, but it is significant that Los olvidados is recognized both by international critics and Mexican film historians as the turning point in the director’s entire career. -
The Revolution Is History: Filming the Past in Mexico and Cuba JOHN MRAZ
The Revolution is History: Filming the Past in Mexico and Cuba JOHN MRAZ As is their nature, social revolutions in Mexico and Cuba dramatically altered the lives of millions. 1 During the «effervescent» periods which followed the uprisings's triumphs, political and socioeconomic transformation bettered the lot of most people, and cultural creativity flourished; unfortunately, the revolutions were later deformed into dictatorships -of party in Mexico, of individual in Cuba. 2 Caught up in the midst of these soul-shaking metamorphoses, filmmakers have reflected critically on the legitimizing myths of the New Orders, as well as participated enthusiastically in their construction. The revolution itself is the founding legend, the keystone chronicle of these cultures; it is history in the simplest sense of the word, for the films are reconstructions of times past. I want to examine how some of the best directors of the better films in Mexico and Cuba have portrayed the revolutions in their countries, as well as interrogate their use of history in constructing concepts of nation and identity. I also wish to focus on how the filmic visions of both revolution and history have changed as the post-revolutionary States have mutated from their open, pluralistic beginnings into institutionalized, reified authorities. Here, one of the most interesting facets is to observe how the representations of history varies between «histories», heterogenous and pluralist stories about the past, and «History», master narratives of totalizing epics designed to legitimate the present. These are unfashionable reflections, caught as we are in a «post- modern» world of neo-liberal orthodoxy which denies both the possibility of revolutionary transformation and the relevance of history. -
Carolyn Fornoff
CAROLYN FORNOFF Department of Spanish & Portuguese University of Pennsylvania 521 Williams Hall 255 South 36th Street Philadelphia, PA 19104-6304 [email protected] 512.917.8129 EDUCATION: Ph.D., University of Pennsylvania, Spanish & Portuguese, expected February 2017. M.A., University of Pennsylvania, Spanish & Portuguese, December 2012. B.A., Rice University, Hispanic Studies, magna cum laude, May 2008. Dissertation: “Species Sadness: Sex, Politics, and Nonhuman Creativity in Latin America” Committee: Román de la Campa (Chair), Marie Escalante, Jorge Téllez, & Beatriz González-Stephan RESEARCH AND TEACHING FIELDS: • Mexican Studies • Central American Studies • 20th- and 21st-Century Literature and Poetry • Film Studies • Ecocriticism and Animal Studies • Gender and Queer Theory • Affect Theory PUBLICATIONS: Peer-Reviewed Journal Articles “Passivity and Nonhuman Absorption in Julieta Campos’s “Celina o los gatos”.” Revista de Estudios Hispánicos. (Forthcoming, 2017) “Ernesto Cardenal’s Apologia for Ezra Pound.” Istmo: Revista de estudios literarios y culturales centroamericanos, vol. 32, 2016. (Forthcoming) “Descifrar el Secreto: “La secta del Fénix” y el acertijo literario”. Variaciones Borges, vol. 39, 2015, pp. 125-142. Book Chapters González-Stephan, Beatriz and Carolyn Fornoff, “Market and Non-Consumer Narratives: From the Levity of Being to Abjection.” The Cambridge History of Latin American Women’s Literature, edited by Ileana Rodríguez and Mónica Szurmuk, Cambridge University Press, 2015, pp. 486-503. Other Publications Scholarly Dictionary Entries: The Fugitive (Film, 1947); Border Incident (Film, 1949); El norte (Film, 1983); Girlfight (Film, 2000). Race and Ethnicity in American Film: The Complete Resource. Edited by Daniel L. Bernardi and Michael Green, ABC-CLIO/Greenwood. (Forthcoming, June 2017) Fornoff 2 Review of Cortázar Sampleado, edited by Pablo Brescia. -
La Naturaleza Contradictoria De Las Películas Hechas En México Sobre La Revolución Mexicana
LA NATURALEZA CONTRADICTORIA DE LAS PELÍCULAS HECHAS EN MÉXICO SOBRE LA REVOLUCIÓN MEXICANA A Thesis by ALEX STEVE GARZA Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2010 Major Subject: Modern Languages LA NATURALEZA CONTRADICTORIA DE LAS PELÍCULAS HECHAS EN MÉXICO SOBRE LA REVOLUCIÓN MEXICANA A Thesis by ALEX STEVE GARZA Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Richard Curry Committee Members, José Pablo Villalobos Henry C. Schmidt Head of Department, Larry J. Mitchell August 2010 Major Subject: Modern Languages iii ABSTRACT La Naturaleza Contradictoria de las Películas Hechas en México Sobre la Revolución Mexicana. (August 2010) Alex Steve Garza, B.A., Texas A&M University Chair of Advisory Committee: Dr. Richard Curry This investigation analyzes eleven movies made in Mexico about the 1910 Revolution and identifies contradictory elements that allow the films to portray and propagate conservative social and political structures while championing the revolutionary movement and its non-conservative ideals. By endorsing heroic patriarchal figures and structures, reinforcing machismo, and simplifying the ideals and reasons for fighting held by historical figures, the films manage to establish conservative practices while celebrating the revolutionary movement. What follows is a detailed analysis of a -
Hegemony and Mediations in Melodrama of the Golden Age of Mexican Cinema
HEGEMONY AND MEDIATIONS IN MELODRAMA OF THE GOLDEN AGE OF MEXICAN CINEMA By Dave Evans A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Masters of Arts in Spanish and Latin American Studies Victoria University of Wellington 2015 ABSTRACT The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. -
I He CD DI Es I CALE N DAR in ID W N I Freei
I he CDDI es I CALE N DAR in ID w n I FREEi HonoluluDiary- pagetwo Welcome to The Machine-pagefive Moi]ii]i Masala- pagefifteen AFiesra of Mexican Movies -�ge� Being a Politician RequiresCompromise, Dirty Dealings and Ruthless Tactics. H. Ross Perot'sa Natural. irst, let's think about American big business. We don't know much about it, and never will, because the people who run it don't answer to you and me. We live in the circle of fog that they spray The underneath themselves, and unless a conscientious underling Secret spills the beans to the U.S. Lfil!gl_lage �®,-· Attorney, or the Securities and Exchange Commission - of the usually exacting political revenge on orders from the J�ong White House - decides to go Wollle after somebody, it's a diet of n Donald-Marla gossip forthe rest of us. -Pagell Continued on Page 6 @ 1qq1 JOHii! S. PRITCHETT Art Kazu Hayashida, the Board's man Honey Alexander, wifeof Bush's ager and chief engineer. The Board's Education Secretary, Lamar On June 21, the annual American announcement did not indicate the Alexander, was elected vice-chair Civil Liberties Union awards dinner cost of the study. person ... Hawaii County's popula will have a most interesting keynote tion is growing 2.5 times faster than speaker - former National the national average and Maui's is Endowment for the Arts chairper Sex growing at three times the national son John Frohnmayer. Forced out by According to American rate ... Hawaii has the fourth highest George Bush in a flap catalyzed by Demographics magazine, some old rate of state and local tax revenue Pat Buchanan's threat to make the sexual notions have recently been per $100 of personal income - NEA's fundingof "controversial"art confirmed, and some new discover $14.21.