Dolores Tierney
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Gender, sexuality and the Revolution in Salón México, Las abandonadas and Víctimas del pecado
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This chapter questions the reproduction of motifs of cultural nationalism in relation to the production of the hembra (female), an exaggeratedly submissive and abnegated female identity, and femininity in conventional readings of Salón México, Las abandonadas and Víctimas del pecado. It looks at how melodrama offers a space for subversive pleasure within an otherwise restrictive moral context that challenges gender ideology as it relates to racial identity. The chapter seeks to destabilize the rigid melodramatic, social, racial and gender paradigms upon which readings of the three films are based. It attempts to show how the unacceptable 'other' (the liberated sexuality of the lone female dancer) is not necessarily the opposite but in fact an integral part of the image of the nation. The three films are less morally dichotomous in their representation of Mexican women and the struggle for modernity in the 1940s than much of conventional scholarship allows for.

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