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Pictures in the margins

From 1943 until 1950, Emilio Fernández was regarded as one of the foremost purveyors of 'Mexicanness,' as one of the most important filmmakers of the Mexican film industry. This book explores the contradictions of post-Revolutionary representation as manifested in Fernández' canonical 1940s films: María Candelaria, Víctimas del pecado, Las abandonadas, La perla, Enamorada, Río Escondido, Maclovia and Salón Mexico. It examines transnational influences that shaped Fernández' work. The book acknowledges how the events of the Mexican revolution impacted on the country's film industry and the ideological development of nationalism. It takes note of current tendencies in film studies and postcolonial theory to look for the excesses, instabilities and incoherencies in texts, which challenge such totalizing projects of hegemony or cultural reification as 'cultural nationalism' or ' mexicanidad.' The book looks at how classical Mexican cinema has been studied, surveying the US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses. Fernández's Golden Age lasted for seven years, 1943-1950. The book also 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. Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity.

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Dolores Tierney

redress some of the imbalances of Fernández criticism caused by bounded nationalism and his auteur status by seeking to highlight the many transnational forces that shape and determine his films. At the same time, this book acknowledges how the events of the Mexican revolution impacted on the country’s film industry and the ideological development of nationalism. The revolution of 1910–20 brought an end to the 30-year dictatorship

in Emilio Fernández
Antigoni Memou

Antonio’ (the old Antonio) (an elder from the Indian communites who is the protagonist in a series of his stories) to whom he explains who the Zapatistas are and how their struggle links with the Mexican revolution, including an account of Zapata’s trajectory from Anenecuilco to Chinameca. Old Antonio narrates his long true story about Zapata, talking about two gods, Ih’al and Votán, who walked together but also separated, highlighting that they chose the longer path, and they moved along asking questions.15 Antonio said: It’s that Zapata that appeared here in the

in Photography and social movements
Margarita Aragon

collective status as a self-determined, sovereign people – was realized or deformed. White U.S. Americans’ origin stories of their nation's global ascendancy often included demonstrations of “the Mexican” and “the Negro's” supposed incapacity for history and civilization (the use of the always-male synecdoche capturing the inextricable entanglement of constructions of race and gender). “The stern stuff of manhood is not in them,” Jack London asserted in 1914 in a contemptuous dismissal of the Mexican Revolution. Like many of his contemporaries, London

in A savage song
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El espinazo del Diablo/The Devil’s Backbone
David Archibald

popular culture and its relationship to debates over the historical process, before proceeding to analyse the use of ghosts in this specific film. The chapter then examines the cyclical view of history represented in the film, before charting the film’s journey from its original setting during the Mexican Revolution to the Spanish Civil War, and analysing del Toro’s appropriation of cinematic styles. The chapter concludes by reading this film against contemporaneous political processes in Spain. Ghosts and the past In a well-known statement outlining his views on

in The war that won't die

This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.

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The twentieth century dawns in blood
Margarita Aragon

percent of Mexico's land, as well as justifications of anti-Mexican violence in the U.S., further fomented toxic national discourses of white civilization, Anglo-Saxon might, and global destiny. 14 As I will examine in the chapters to come, the Mexican Revolution and World War I, the larger cataclysms within which these local moments unfolded, gave new significance to Mexican and black men's killing and dying. However, I will also trace the ways in which

in A savage song
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Margarita Aragon

is presented as the latter-day sweeping away of a decrepit Mexican sovereignty from the as yet incompletely cultivated edges of the nation. The landscape of Mexican death in such narratives signals the inexorable forward march of white U.S. nationhood. The grounds of rebellion While the politics of the Mexican Revolution profoundly suffused the borderlands, their propaganda suggests it was the conditions that existed in Texas that moved the s ediciosos to violence. The ethnic Mexican population in

in A savage song
Public health and the politics of eradication in Mexico
Anne-Emanuelle Birn
Armando Solórzano

States, the instability generated by more than a decade of warfare during the Mexican Revolution, and the threats to US economic interests provided ample basis for both the diplomatic and the development components of the RF’s involvement. Following an expensive yellow fever campaign managed entirely by the RF, 6 the foundation assured Mexican health officials that a hookworm programme would be a more

in Western medicine as contested knowledge
Open Access (free)
Peter Calvert

impact on nineteenth-century Europe and Latin America of the Declaration of the Rights of Man and of the Citizen. They served as an inspiration for the constitutional revolutions of 1830 and 1848, and continued to exert some influence at least as late as the Mexican Revolution of 1910. Three more specific contributions were the abolition of slavery (France, the first country to decree the abolition of slavery was, however, also the first country to restore it), republicanism, and the principle of universal male suffrage (often modified). Starting with Louis de

in Democratization through the looking-glass