LEADER 04088nam 22006374a 450 001 9910778109403321 005 20230828204917.0 010 $a0-292-79470-3 024 7 $a10.7560/712966 035 $a(CKB)1000000000479636 035 $a(OCoLC)614534974 035 $a(CaPaEBR)ebrary10245723 035 $a(SSID)ssj0000122295 035 $a(PQKBManifestationID)11135156 035 $a(PQKBTitleCode)TC0000122295 035 $a(PQKBWorkID)10123446 035 $a(PQKB)11492908 035 $a(MiAaPQ)EBC3443246 035 $a(MdBmJHUP)muse19296 035 $a(Au-PeEL)EBL3443246 035 $a(CaPaEBR)ebr10245723 035 $a(DE-B1597)588196 035 $a(OCoLC)1280944533 035 $a(DE-B1597)9780292794702 035 $a(EXLCZ)991000000000479636 100 $a20051221d2006 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCinemachismo$b[electronic resource] $emasculinities and sexuality in Mexican film /$fSergio de la Mora 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2006 215 $a1 online resource (257 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-71296-0 320 $aIncludes bibliographical references (p. [197]-226) and index. 327 $a"Midnight virgin": melodramas of prostitution in literature and film -- Pedro Infante unveiled: masculinities in the Mexican "buddy movie" -- The last dance: (homo)sexuality and representation in Arturo Ripstein's El lugar sin li?mites and the fichera subgenre -- Mexico's third-wave new cinema and the cultural politics of film -- Epilogue. Mexican cinema is dead! Long live Mexican cinema! 330 $aAfter the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema. 606 $aMotion pictures$zMexico 606 $aMen in motion pictures 606 $aMasculinity in motion pictures 615 0$aMotion pictures 615 0$aMen in motion pictures. 615 0$aMasculinity in motion pictures. 676 $a791.43/6521 700 $aMora$b Sergio de la$01548914 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778109403321 996 $aCinemachismo$93806335 997 $aUNINA 999 $p$45.38$u09/15/2017$5Eng