Dolores Tierney
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Progress, modernity and Fernández’ ‘antimodernist utopia’
Río Escondido
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This chapter, through Emilio Fernández' Río Escondido, questions a key element within the post-Revolution redefinition of Mexico: necessary consonance of Fernández' films with conservative, Government ideology. Specifically, it explores the tensions between Government discourses of progress and modernity and Río Escondido's representation of Mexico. At the same time, the chapter takes issue with the idea that this film (along with all Fernández's films) represents an 'antimodernist utopia' antithetical to progress and modernity, and suggests instead that it is firmly rooted in the contemporary moment (and problems) of its production. Although, Río Escondido seemingly furthers the State's claim to be Revolutionary by figuring a revolutionary struggle and victory, the chapter finds that the very revolutionary actions the film celebrates are simultaneously disavowed as part of Mexico's contemporary reality.

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Emilio Fernández

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