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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.
language with his Spanglish, his ‘guachadors’ (watchmen) and his North American ways. 2 This chapter 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 (Lomitz Adler, 1992
Over more than thirty years of reform and opening, the Chinese Communist Party has pursued the gradual marketization of China’s economy alongside the preservation of a resiliently authoritarian political system, defying long-standing predictions that ‘transition’ to a market economy would catalyse deeper political transformation. In an era of deepening synergy between authoritarian politics and finance capitalism, Communists constructing capitalism offers a novel and important perspective on this central dilemma of contemporary Chinese development. This book challenges existing state–market paradigms of political economy and reveals the Eurocentric assumptions of liberal scepticism towards Chinese authoritarian resilience. It works with an alternative conceptual vocabulary for analysing the political economy of financial development as both the management and exploitation of socio-economic uncertainty. Drawing upon extensive fieldwork and over sixty interviews with policymakers, bankers, and former party and state officials, the book delves into the role of China’s state-owned banking system since 1989. It shows how political control over capital has been central to China’s experience of capitalist development, enabling both rapid economic growth whilst preserving macroeconomic and political stability. Communists constructing capitalism will be of academic interest to scholars and graduate students in the fields of Chinese studies, social studies of finance, and international and comparative political economy. Beyond academia, it will be essential reading for anyone interested in the evolution of Chinese capitalism and its implications for an increasingly central issue in contemporary global politics: the financial foundations of illiberal capitalism.
What do we really know of the origins and first spread of major monotheistic religions, once we strip away the myths and later traditions that developed? Creating God uses modern critical historical scholarship alongside archaeology to describe the times and places which saw the emergence of Mormonism, Islam, Christianity, Judaism and Zoroastrianism. What was the social, economic and political world in which they began, and the framework of other contemporary religious movements in which they could flourish? What was their historical background and what was their geographical setting? Written from a secular viewpoint, the author reveals where a scholarly approach to the history of religions may diverge from the assumptions of faith, and shows the value of comparing different movements and different histories in one account. Throughout history, many individuals have believed that they were in direct contact with a divine source, receiving direction to spread a religious message. A few persuaded others and developed a following, and a small minority of such movements grew into full religions. In time, these movements developed, augmented, selected and invented their own narratives of foundation: stories about the founders’ lives and the early stages in which their religious group emerged. Modern critical scholarship helps us understand something of how a successful religion could emerge, thrive and begin the journey to become a world faith. This book presents a narrative to interest, challenge and intrigue readers interested in the beginnings of some of the most powerful ideas that have influenced human history.
nationalism (Berg, 1992 : 5). Cultural nationalism emerged in the 1920s as an organizing motif for a country devastated by revolutionary turmoil (Joseph et al., 2001 : 7). As a political project it was about redefining/consolidating national identity through indigenism, education and the notion of the fatherland: ‘develop[ing] a system of values around which a society [could] unite and establish a
perhaps than anywhere else in Brazil, businesses and political elites in Roraima have felt hampered by the country’s commitments to protecting its environment and the rights of diverse indigenous populations, all of which has over the course of the last thirty years been underpinned by international agreements. Just as the evangelical Christians in Chapter 7 railed against new global norms protecting LGBTQ rights, so the farmers and garimpeiros I met in Boa Vista denounced what they called environmentalism and “indigenism”. Even moderates in Roraima thought there
group of gorillas’ and ‘two nude Pamúes [indigenous tribespeople]’. Inside, the ‘natives of the mainland and islands … performed their typical dances, accompanied by primitive instruments’; after this spectacle, the royal couple were given ‘parcels of Bubu chocolate’ as gifts. 29 The strategies of self-representation employed in their own pavilions by the Latin American ex-colonies exhibited a variety of positions along a continuum between pure indigenism and Hispanism, often in hybridised combinations of
explains that ‘indigenism’ and ‘internationalism’ emerged as prevailing and binary discourses in the 1970s.143 These two terms are invoked and explicated by important Indian art historian Geeta Kapur in her 1970 master’s thesis titled ‘In Quest of Identity: Art & Indigenism in Post-Colonial Culture with Special Reference to Contemporary Indian Painting’ – subsequently published in the monthly English language-magazine Vrishchik, published in Baroda, India). As Kapur notes, ‘the language of Form postcolonial art could not be the same as that of Western art’.144 Such
echo of ‘Radical Indigenism’ which would ‘dare to suggest that American Indian cultures contain tools of enquiry that create knowledge’ (Garroutte 2003: 107). The parallel readings of Pauline/Fleur in part resist assumptions of the superiority of Western over Native epistemologies and hermeneutic modes. But where Womack seeks to negotiate a specific tribal intellectual tradition, Erdrich’s tribal specificity is part of her attempt to ‘articulate… the universality and connectedness of the human race’ (Lischke and McNab 2006: 193) or in her own words to write about
brought him great success during his most prestigious years (García Riera, 1987 : 274). This reading is in part symptomatic of auteurist approaches which decide a paradigm of nationalist images (the themes of Fernández’ cinematic nationalism, isolationism, indigenism, tragic love) and then examine films as they fit into that paradigm, discarding those films which do not fit the predetermined paradigm as anomalies – notably