Dolores Tierney
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Hybridity, indigenismo and the discourse of whitening
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This chapter examines how the concept of hybridity mediates the post-Revolutionary discourse of indigenismo (indigenism) in its cinematic form. It looks specifically at how malinchismo, which is also figured as a 'positive, valorisation of whiteness,' threatens the 'purity' of an essential Mexican in María Candelaria, Emilio Fernández's most famous indigenist film. This chapter looks at the contradictions of indigenism in Fernández' often cited as exemplary María Candelaria, suggesting that the film's representation of the indígena embodies a hybrid incoherent identity. The chapter also argues that the representation of indigenismo in Maria Candelaria is predicated on a pre-Revolutionary racial ideology that comes not just from a residual European influence but also from Fernandez' borrowings from Hollywood. This chapter also looks at the contradictions of indigenism in Fernández' two other Golden Age indigenist films Maclovia and La perla (The Pearl).

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Emilio Fernández

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