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.
produces, and explore the contradictions of post-Revolutionary
representation as manifested in Fernández’ canonical1940sfilms:
María Candelaria, Víctimas del pecado, Las abandonadas, La perla,
Enamorada, Río Escondido, Maclovia and Salón Mexico.
Another important aim of this book is to explore transnational
influences that shape Fernández’ work, influences obscured by the
focus on Fernández’ films as ‘authentic Mexican
Mexican cinema and Emilio Fernández post the Golden Age – from golden boy to ‘the man in black’
films made without evident nationalist sensibility. The recent release on
DVD of many of both Fernández’ canonical1940sfilms and
previously unavailable noncanonical post-Golden Age films (particularly
Cita de amor and El rapto) presages a whole new wave of
scholarship on his films.
Ultimately it is hoped that this book will help to expand
Fernández’ cultural legacy by suggesting that there