Search results

You are looking at 1 - 10 of 24 items for :

  • "Mexican culture" x
  • Refine by access: All content x
Clear All
Open Access (free)
Michael A. L. Broyles

In this mixture of memoir, reflection, and scholarship, the author details how, during a time of suffering, James Baldwin and singer Celia Cruz helped him understand his tense relationship with his toxic paternal grandparents and celebrate the reclamation of his stifled Mexican heritage.

James Baldwin Review
Dolores Tierney

this institutionalization is still evident in the 1980s accounts of him written coincidentally at the same time as the biggest upsurge in the production of Mexican culture studies – Guillermo Bonfil’s Mexico profundo and Bartra’s La jaula de la melancolía – since it was initiated by Ramos in the 1930s and climaxed in the 1950s with Paz’ El laberinto de la soledad (Labyrinth of Solitude) (Lomitz Adler, 1992 : 247). It

in Emilio Fernández
Mexican graveyards and Gothic returns
Enrique Ajuria Ibarra

graveyard The representation of the Day of the Dead in Coco brings attention to the conversational aspect between the living and the dead in Mexican culture. That living family relatives establish meaningful connections with their deceased is visually confirmed by the lavish altar at Miguel’s house and the night visit to the cemetery. The film points to these locations as prime

in Graveyard Gothic
Perspectives on civilisation in Latin America
Jeremy C.A. Smith

experiences. In its most vivacious and adventurous period in the 1920s and 1930s, the Muralist Movement variously captured revolutionary optimism, humanism and suffering. Just as José Martí and José Enrique Rodó demanded a place for America in schemes of world history, the muralists implored the world of the arts to find a place for an original Mexican culture. Along with other modernist artists they made significant contributions to the cross-​currents of Latin American culture. Cross-​currents also washed through José Mariátegui’s Marxism. His outlook was

in Debating civilisations
A reading of Self-Portrait with Cropped Hair and its criticism
Neil Cocks

attract men. 17 Lindauer counters this reading by ‘contextualising’ hair. She claims that in Mexican culture sexuality is constructed in terms of ‘acts’ rather than ‘object choice’. ‘Masculine’ acts are ‘active’; and ‘feminine’ ‘acts’ are ‘passive’. ‘In Kahlo’s painting, the “active” quality of her cut hair is clear’. 18 Rather than an act that indicates a refusal of her sexuality, Kahlo’s haircut is one that actively takes on a sexual role, one not dependent on essentialised ideas of sexuality. Facial hair and

in The last taboo
Antigoni Memou

to the use of the balaclava is the children, who may be presented with their faces uncovered on some occasions. The use of the balaclava has undeniably symbolic overtones, which transcend the obvious practical function of protection. The extensive use of balaclavas in the majority of photographs available on the website comes as no surprise given the fascination with the mask in Mexican culture since pre-Columbian times. A means of protecting oneself or as a barrier between the self and the world, the mask is omnipresent in Mexico: on the Day of the Dead, among

in Photography and social movements
Abstract only
Mexican cinema and Emilio Fernández post the Golden Age – from golden boy to ‘the man in black’
Dolores Tierney

films as necessarily progressive texts, but instead to suggest that classical Mexican cinema and specifically the films made by Fernández have been misunderstood as solely readable via a myth of post-Revolutionary Mexican culture. As for the implications of this study for future approximations of Fernández’ post-Golden Age cinema, what it hopes to yield is an approach that puts aside those hegemonic discourses such as

in Emilio Fernández
Deborah Shaw

through the representation of women. The virgin/whore paradigm which characterised ‘golden age’ Mexican filmmaking has been replaced by modern, professional, independent women, who broadly correspond to a post-feminist model. Gloria and Silvia are single and live alone, and do not depend on a man for financial security, yet they are sexually liberated, as seen in their willingness to have sex with Tomás with no need for seduction on his part. Andrea Noble has commented on the centrality of the prostitute in Mexican culture, stating ‘the importance of the prostitute as

in The three amigos
Abstract only
Dolores Tierney

industry – and Fernández in particular – benefited from huge Government sponsorship designed to freeze and institutionalize an ideological image of the country and its revolution. Fernández’ work is popularly perceived from both inside and outside Mexican culture as the ‘Mexicanist cinematic text,’ offering a representation of mexicanidad as an unproblematic extension of this post-Revolutionary cultural

in Emilio Fernández
Río Escondido
Dolores Tierney

year on 16 September by successive Mexican presidents. 3 The depiction of nineteenth-century President Benito Juárez throughout Río Escondido (his portrait hangs in the school Rosaura establishes and she uses him as an example for the pupils) is commensurate with his depiction in mainstream Mexican culture as a friend of the humble classes. However, in reality

in Emilio Fernández