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Review Studies in Hispanic Cinemas

Studies in Spanish & Latin-American cinemas

Review TECSISTECATL Revista Académica de Ciencias Sociales de México

Year: 2012 vol. 8 n. 1

San Martín, Patricia Torres . Love Goddesses: angels and demons in Mexican cinema.  / Diosas del Amor: ángeles y demonios en el cine mexicano p. 19-35 México
Cine mexicano / Estereotipos culturales / Mujer Fatal / Representaciones de género / Ideología patriarcal / Melodrama urbano
Siglo XX | Siglo XXI


This essay analyses two important Mexican urban melodramas of the 1940s: La devoradora/Devourer of Men by (Fernando de Fuentes 1946) and La diosa arrodillada/Goddess on Her Knees (Roberto Gavaldón 1947). Both films are structured according to the canons of film noir and extol the figure of the femme fatale, the 'Love Goddess'. As such, these films are representative of myths created in the 1940s, which determined cultural perceptions and structured different ways of seeing and understanding the gendered world. The analyses respond to fundamental questions regarding the representation of women generally and the femme fatale in particular in Mexican cinema: how do these feared women, with sexual and economic power, and who disrupt moral values, actually reinforce traditional moral values? What is behind these gender representations that established some ideals of femininity and masculinity in Mexican cinema?

Schaefer, Claudia.  Revolution, ideology and the eye of cinema: El cometa as mise en abyme .  / Revolución, ideología y el ojo de cine: "El Cometa" como puesta en abismo p. 37-49 México
Cinematógrafo Lumière / Revolución mexicana / Aura / Más allá de la imagen / Modernidad / Fotografía
Siglo XX | Siglo XXI


Among the many films made about the Mexican Revolution, El cometa embeds a retrospective look at this historical event within what Walter Benjamin calls the fore- and after-histories that surround it, revisiting what the term 'revolution' might imply for the twenty-first century. Deploying innovative technologies of image making as well as citations of previous productions, the directors juxtapose what Benjamin explores as the transfixing aura of the photograph with the decay of aura produced by the cinema to give spectators privileged insight into Mexico's precarious transition into modernity through war and technology or, for some, a war with technology. The cinematograph, marketed by the Lumière brothers for the entertainment of the masses and crucial in the shift to a potentially radical form of documentation, is the fascinatingly powerful object of material culture through which the political and technological torches are passed between generations. The ideals, myths and symbols of a social class that have become the 'normal' way of seeing things then might be viewed differently, as what is politically and aesthetically 'revolutionary' provides new forms of knowledge for audiences.

Alvaray, Luisela.  Are we global yet? New challenges to defining Latin American cinema .  / ¿Somos ya globales? Nuevos retos para la definición del cine latinoamericano p. 69-86 América Latina
Cine latinoamericano / Coproducciones / Desterritorialización / Industrias del cine / Globalización / Hibridación / Identidades nacionales y regionales / Transculturalismo
Siglo XXI


A proliferation of exchanges between film industries in the United States, Europe and Latin America are redefining the Latin American film industry in the twenty-first century. This article considers how these cross-border and cross-cultural flows may inform new ways for understanding national and regional cinemas. In the following discussion, I analyse emerging industrial practices and producers' responses to the new transnational alliances. I follow this by examining the critical debates over the effects that such structural changes may be having on the diversification of narratives and their contribution in the articulation of transforming national and regional identities.

Smith, Paul Julian. Report on Guadalajara: Art and industry .  / Informe sobre Guadalajara: arte e industria p. 101-108 México
Foro sobre el presente y futuro del cine mexicano / Festival Internacional de Cine de Guadalajara / Guillermo del Toro / Maryse Sistach / Cine mexicano / Desarrollo de la audiencia
Siglo XXI


This article is a report on The Festival Internacional de Cine en Guadalajara, generally held to be the most important in Latin America, whose 26th edition took place from 25 March to 1 April 2011. After a general survey of the festival (including reference to a vampire strand curated by Guillermo del Toro), the article offers a full account of the festival's forum on the Present and Future of Mexican Cinema, addressed by industry and government delegates, which stressed the three themes of distribution, audience development and the relationship of cinema to television. The article then goes on to analyse four of the fourteen Mexican fiction features premiered at the festival: a comedy, two thrillers and an auteurist film (by established director Maryse Sistach). These films are representative of current production in Mexico. Although they vary in genre, their common bourgeois setting coincides with the new constitution of cinema audiences in Mexico, where the increase in ticket price means that only the wealthy can afford regular attendance at cinemas.

Studies in Spanish & Latin-American cinemas
Paper | Numerical version with subscription | Cuatrimestral | United Kingdom SLAC
Print ISSN: 2050-4837
Online ISSN: 2050-4845
Year of creation: 2013

Publisher: Intellect Ltd.
Address: The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, United Kingdom


Formerly published as Studies in Hispanic Cinemas, 2004-2013, the journal is dedicated to the study of Spanish-speaking and Latin American cinemas. Coverage includes the cinemas of Spain and Spanish-speaking South, Central and North America, including the Caribbean, and Brazil. Our target readership includes students, teachers and scholars. The double-blind peer-reviewed journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post- colonial Studies, as well as Hispanic Studies, thereby encouraging an inter-cultural and inter-disciplinary focus.

Review related to: Studies in Hispanic Cinemas

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