Dolores Tierney
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Gender, sexuality and the Revolution in Enamorada
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As part of Mexico's ongoing Revolution, 'the ideological vision of society and culture offered/accepted by the State,' the cultural reelaboration of Mexicanness also involved a cultural redefinition of gender. This chapter discusses Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity. It argues that Fernandez's and the Revolution's explicit gender discourses of 'lo macho' and female submission are often undermined by the melodramatic mise-en-scène and borrowings from the Hollywood screwball comedy. The chapter attempts to read against a blurring between the accepted model of Revolutionary masculinity and a hypermasculine filmmaker if either actually exists. It explores the eliding of Fernández's high voice in biographical auteurist accounts suggests a repression of 'other,' less 'virile' readings of his work. The chapter shows there is room for other readings of Enamorada than Mexican cultural nationalism and the basic Fernández mythology allow for - i.e., in this case a feminist reading.

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Emilio Fernández

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