Contemporary Mexican Cinema, 1989-1999: History, Space and Identity
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Lewiston
Edwin Mellen Press
2007
|
| Schlagworte: | |
| Online-Zugang: | FAW01 FAW02 Volltext Inhaltsverzeichnis |
| Beschreibung: | Print version record. - 3.3 Contemporary Visions of the Country: Felipe Cazal's Canona (1975) |
| Beschreibung: | 1 online resource (282 pages) |
| ISBN: | 0773412328 9780773412323 |
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| 500 | |a Print version record. - 3.3 Contemporary Visions of the Country: Felipe Cazal's Canona (1975) | ||
| 505 | 8 | |a Title Page; Copyright Page; Table of Contents; List of Illustrations; Preface; Foreword; Acknowledgements; Introduction- Mexican Filmmaking in the 1990's; Chapter 1- Political Histories: Three Case Studies; 1. Context(s); 2. Rojo amanecer (1989); 3. EL Bulto (1991); 31. Past and Present Collide; 3.2 Salinas' Mexico; 3.3 Political Revisions; 4. La Ley de Herodes (1999); 4.1 Political Stings; 4.2 Murder, Slander and Satire; 4.3 Political Maneuvers; Chapter 2- Rewriting the Conquest: Nicolas Exhvarria's Cabeza de Vaca (1992) and Salvador Carrasco's La Otra Conquista (1999) | |
| 505 | 8 | |a 1. Historical Context(s)1.1 The Year 1992; 2. Cabeza de Vaca (1992); 2.1 Truth and Lies; 2.2 Identity Crises; 2.3 Assimilation; 2.4 Conflicting Codes; 3. La Otra Conquista (1999); 3.1 The Spiritual Conquest; 3.1.1 The Mother; 3.1.2 The War of Images; 4. Reversing the Negative Paradigm; 4.1 This is my Body, this is my Blood; 5. A Hybrid Nation; Chapter 3- Re-defining la madre mexicana in Maria Novaro's Lola (1989); 1. Women and Filimmaking in Mexico: An Overview; 1.1 Sociohistorical Change(s); 2. Women Directors of Contemporary Mexican Cinema; 2.1 Female Narratives on the Contemporary Screen | |
| 505 | 8 | |a 3. The Creation of an Idol: Sara Garcia and la madre mexicana3.1 Mexico's Mothering Complex: An Overview; 4. Motherhood Re-Visited: The Case of Maria Novaro's Lola (1989); 4.1 The Conflicts of Motherhood; 4.2 Mothers and Daughters; 4.3 Mexico's sagrada familia Demystified; Chapter 4- Retorno el arrabal: The Case of Dana Rotberg's Angel de Fuego (1992); 1. Context(s); 2. Dana Rotberg and Angel de fuego (1992); 3. Three Different Visions of the arrabal in Mexican Cinematic History; 3.1 The Good: Rodriguez's 'Valle de Lagrimas / Valley of Tears' vs Galindo's "Social Realism." | |
| 505 | 8 | |a 3.2 The Bad: Benevolent Poverty on the Screen3.3 The Ugly: Bunel's Demystification of the arrabal; 3.3.1 Los olvidados (1950); 3.4 Rotberg's re-vision of the arrabal- Social/Poltical Contexts; 3.4.1 The arrabol Re-visited; 4 Representations of the Body in Angel de fuego- Body Vs Soul; 4.1 The Body as Sin; 4.1.1 The Body as Text; Chapter 5- Re-Mapping the Boderlands: Maria Novaro's El Jardin del Eden (1994); 1. Context(s); 1.1 El jardin del Eden (1994); 2. Geographies of Location: Borders and Boundaries- Physical Borders; 2.1 Boundaries- Geographical Boundaries; 2.1.1 Other Boundaries | |
| 505 | 8 | |a 3. Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen | |
| 505 | 8 | |a This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. Accordingly, the study is divided into three sections, representing the key generic discourses that frame the films' narratives and underlying aims: The first analyzes contemporary Mexican cinema's re-presentation of history on the cinematic screen; the second part of the book examines the rise in the number of women directors, comparing it with the previous lack of female participation within the filmmaking arena; the last section explore | |
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| 650 | 4 | |a Motion pictures / Mexico | |
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Datensatz im Suchindex
| _version_ | 1804175402815455232 |
|---|---|
| adam_text | Table of Contents
List of Illustrations i
Preface Dr Nuala Finnegan iii
Foreword vii
Acknowledgements xi
Introduction - Mexican Filmmaking in the 1990s 1
PART I: HISTORY
Chapter 1 - Political Histories: Three Case Studies 11
1. Contexts) 11
2. Rojo amanecer (1989) 15
3. £7 fin/to (1991) 19
3.1 Past and Present Collide 23
3.2 Salinas Mexico 24
3.3 Political (Re)visions 27
4. La Ley de Herodes (1999) 29
4.1 Political Stings 33
4.2 Murder, Slander, and Satire 37
4.3 Political Maneuvers 39
Chapter 2 - Re-writing the Conquest: Nicolas Echevarria s Cabeza de
Vaca (1992) and Salvador Carrasco s La Otra Conquista (1999) 45
1. Historical Contexts) 45
1.1 The Year 1992 46
2. Cabeza de Vaca (1992) 48
2.1 Truth and Lies 52
2.2 Identity Crises 54
2.3 Assimilation 58
2.4 Conflicting Codes 60
3. La Otra Conquista (1999) 62
3.1 The Spiritual Conquest 64
3.1.1 The Mother 65
3.1.2 The War of Images 67
4. Reversing the Negative Paradigm 71
4.1 This is my Body, this is my Blood 73
5. A Hybrid Nation 75
PART II: WOMEN BEHIND THE CAMERA
Chapter 3 - Re-defining la madre mexicana in Maria Novaro s
Lola (1989) 81
1. Women and Filmmaking in Mexico: An Overview 81
1.1 Sociohistorical Change(s) 82
2. The Women Directors of Contemporary Mexican Cinema 84
2.1 Female Narratives on the Contemporary Screen 86
3. The Creation of an Idol: Sara Garcia and la madre mexicana 89
3.1 Mexico s Mothering Complex: An Overview 91
4. Motherhood Re-Visited: The Case of Maria Novaro s Lola (1989) 93
4.1 The Conflicts of Motherhood 94
4.2 Mothers and Daughters 101
4.3 Mexico s sagrada familia Demystified 107
Chapter 4 - Retorno al arrabal: The Case of Dana Rotberg s Angel de
fuego (1992) 115
1. Contexts) 115
2. DanaRotberg andAngeldefitego (1992) 117
3. Three Different Visions of the arrabal in Mexican Cinematic History 121
3.1 The Good: Rodriguez s Valle de Lagrimas / Valley of Tears vs
Galindo s Social Realism 121
3.2 The Bad: Benevolent Poverty on the Screen 124
3.3 The Ugly: Bufluel s Demystification of the arrabal 126
3.3.1 Losolvidados (1950) 128
3.4 Rotberg s re-vision of the arrabal - Social/Political Contexts 130
3.4.1 The arrabal Re-visited 132
4. Representations of the Body in Angel de fuego - Body vs Soul 134
4.1 The Body as Sin 139
4.1.1 The Body as Text 142
PART III: GEOGRAPHICAL (RE)LOCATIONS
Chapter 5 - Re-Mapping the Borderlands: Maria Novaro s El Jar din
del Eden (1994) 149
1. Contexts) 149
1.1 Eljardin del Eden (1994) 150
2. Geographies of Location: Borders and Boundaries - Physical Borders 153
2.1 Boundaries - Geographical Boundaries 161
2.1.1 Other Boundaries 166
3. Imagined Spaces: Re-Locating the Garden of Eden 174
Chapter 6 - Mexico s Other Geographies: The Big City vs The Country 181
1. Context(s) 181
1.1 The City in Mexican Cinema 182
1.1.1 Mexico City in Golden Age Cinema 183
1.2 Contemporary Mexican Cinema Returns to the City 189
2. Solo con tu pareja (1991) 191
2.1 Mexico City in Solo con tupareja (1991) 195
2.1.1 Urban Geographies 196
2.2 The Postmodern City 198
3. The Other Mexicos 202
3.1 The Birth of the Rancheras 202
3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez
Formula 206
3.2.1 Mexicanidad on the Screen 206
3.3 Contemporary Visions of the Country: Felipe Cazals Canoa (1975) 213
3.3.1 Carlos Carrera s La mujer de Benjamin (1991) 215
Conclusion 229
Bibliography 235
Index 247
List of Illustrations
Figure 1. Shaman (Eli Machuca) and Malacosa (Jose Flores) in a scene from
Cabezade Vaca.
Figure 2. Tecuichpo (Elpidia Carrillo) and Heran Cortes (Iflaki Aierra) in a scene
from La Otra Conquista.
Figure 3. Topiltzin (Damian Delgado), center, torn between Tonantzin, left, and
the fair Madonna, right, La Otra Conquista.
Figure 4. Topiltzin (Damian Delgado) and the fair Madonna, La Otra Conquista.
Figure 5. Juan Vargas (Damian Alcazar) with Dona Lupe s pigs in a scene from
La ley de Herodes.
Figure 6. Pek (Salvador Sanchez) in a scene from La ley de Herodes.
Figure 7, The dinner party scene, La ley de Herodes.
Figure 8. Doctor Morales (Eduardo L6pez Rojas) and Robert Smith (Alex Cox),
the dinner party scene, La ley de Herodes.
Figure 9. Lie. Lopez (Pedro Armendariz Jr.) in a scene from La ley de Herodes..
Figure 10. Vargas addressing the Congress of the Union in a scene from La ley de
Herodes.
Figure 11. Poster for Alfonso Cuaron s Solo con tupareja.
Figure 12. Tomas Tomas (Daniel Gimenez Cacho) and Clarisa Negrete (Claudia
Ramirez) in a scene from Solo con tupareja. Image Courtesy of
IMCINE and S61o Pelfculas.
|
| any_adam_object | 1 |
| author | Haddu, Miriam |
| author_facet | Haddu, Miriam |
| author_role | aut |
| author_sort | Haddu, Miriam |
| author_variant | m h mh |
| building | Verbundindex |
| bvnumber | BV043039800 |
| collection | ZDB-4-EBA |
| contents | Title Page; Copyright Page; Table of Contents; List of Illustrations; Preface; Foreword; Acknowledgements; Introduction- Mexican Filmmaking in the 1990's; Chapter 1- Political Histories: Three Case Studies; 1. Context(s); 2. Rojo amanecer (1989); 3. EL Bulto (1991); 31. Past and Present Collide; 3.2 Salinas' Mexico; 3.3 Political Revisions; 4. La Ley de Herodes (1999); 4.1 Political Stings; 4.2 Murder, Slander and Satire; 4.3 Political Maneuvers; Chapter 2- Rewriting the Conquest: Nicolas Exhvarria's Cabeza de Vaca (1992) and Salvador Carrasco's La Otra Conquista (1999) 1. Historical Context(s)1.1 The Year 1992; 2. Cabeza de Vaca (1992); 2.1 Truth and Lies; 2.2 Identity Crises; 2.3 Assimilation; 2.4 Conflicting Codes; 3. La Otra Conquista (1999); 3.1 The Spiritual Conquest; 3.1.1 The Mother; 3.1.2 The War of Images; 4. Reversing the Negative Paradigm; 4.1 This is my Body, this is my Blood; 5. A Hybrid Nation; Chapter 3- Re-defining la madre mexicana in Maria Novaro's Lola (1989); 1. Women and Filimmaking in Mexico: An Overview; 1.1 Sociohistorical Change(s); 2. Women Directors of Contemporary Mexican Cinema; 2.1 Female Narratives on the Contemporary Screen 3. The Creation of an Idol: Sara Garcia and la madre mexicana3.1 Mexico's Mothering Complex: An Overview; 4. Motherhood Re-Visited: The Case of Maria Novaro's Lola (1989); 4.1 The Conflicts of Motherhood; 4.2 Mothers and Daughters; 4.3 Mexico's sagrada familia Demystified; Chapter 4- Retorno el arrabal: The Case of Dana Rotberg's Angel de Fuego (1992); 1. Context(s); 2. Dana Rotberg and Angel de fuego (1992); 3. Three Different Visions of the arrabal in Mexican Cinematic History; 3.1 The Good: Rodriguez's 'Valle de Lagrimas / Valley of Tears' vs Galindo's "Social Realism." 3.2 The Bad: Benevolent Poverty on the Screen3.3 The Ugly: Bunel's Demystification of the arrabal; 3.3.1 Los olvidados (1950); 3.4 Rotberg's re-vision of the arrabal- Social/Poltical Contexts; 3.4.1 The arrabol Re-visited; 4 Representations of the Body in Angel de fuego- Body Vs Soul; 4.1 The Body as Sin; 4.1.1 The Body as Text; Chapter 5- Re-Mapping the Boderlands: Maria Novaro's El Jardin del Eden (1994); 1. Context(s); 1.1 El jardin del Eden (1994); 2. Geographies of Location: Borders and Boundaries- Physical Borders; 2.1 Boundaries- Geographical Boundaries; 2.1.1 Other Boundaries 3. Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. Accordingly, the study is divided into three sections, representing the key generic discourses that frame the films' narratives and underlying aims: The first analyzes contemporary Mexican cinema's re-presentation of history on the cinematic screen; the second part of the book examines the rise in the number of women directors, comparing it with the previous lack of female participation within the filmmaking arena; the last section explore |
| ctrlnum | (OCoLC)801363571 (DE-599)BVBBV043039800 |
| dewey-full | 791.430972 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.430972 |
| dewey-search | 791.430972 |
| dewey-sort | 3791.430972 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| era | Geschichte 1989-1999 gnd |
| era_facet | Geschichte 1989-1999 |
| format | Electronic eBook |
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Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. 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| geographic | Mexiko Mexiko (DE-588)4039058-5 gnd |
| geographic_facet | Mexiko |
| id | DE-604.BV043039800 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:15:43Z |
| institution | BVB |
| isbn | 0773412328 9780773412323 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028464446 |
| oclc_num | 801363571 |
| open_access_boolean | |
| owner | DE-1046 DE-1047 |
| owner_facet | DE-1046 DE-1047 |
| physical | 1 online resource (282 pages) |
| psigel | ZDB-4-EBA ZDB-4-EBA FAW_PDA_EBA |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Edwin Mellen Press |
| record_format | marc |
| spelling | Haddu, Miriam Verfasser aut Contemporary Mexican Cinema, 1989-1999 History, Space and Identity Lewiston Edwin Mellen Press 2007 1 online resource (282 pages) txt rdacontent c rdamedia cr rdacarrier Print version record. - 3.3 Contemporary Visions of the Country: Felipe Cazal's Canona (1975) Title Page; Copyright Page; Table of Contents; List of Illustrations; Preface; Foreword; Acknowledgements; Introduction- Mexican Filmmaking in the 1990's; Chapter 1- Political Histories: Three Case Studies; 1. Context(s); 2. Rojo amanecer (1989); 3. EL Bulto (1991); 31. Past and Present Collide; 3.2 Salinas' Mexico; 3.3 Political Revisions; 4. La Ley de Herodes (1999); 4.1 Political Stings; 4.2 Murder, Slander and Satire; 4.3 Political Maneuvers; Chapter 2- Rewriting the Conquest: Nicolas Exhvarria's Cabeza de Vaca (1992) and Salvador Carrasco's La Otra Conquista (1999) 1. Historical Context(s)1.1 The Year 1992; 2. Cabeza de Vaca (1992); 2.1 Truth and Lies; 2.2 Identity Crises; 2.3 Assimilation; 2.4 Conflicting Codes; 3. La Otra Conquista (1999); 3.1 The Spiritual Conquest; 3.1.1 The Mother; 3.1.2 The War of Images; 4. Reversing the Negative Paradigm; 4.1 This is my Body, this is my Blood; 5. A Hybrid Nation; Chapter 3- Re-defining la madre mexicana in Maria Novaro's Lola (1989); 1. Women and Filimmaking in Mexico: An Overview; 1.1 Sociohistorical Change(s); 2. Women Directors of Contemporary Mexican Cinema; 2.1 Female Narratives on the Contemporary Screen 3. The Creation of an Idol: Sara Garcia and la madre mexicana3.1 Mexico's Mothering Complex: An Overview; 4. Motherhood Re-Visited: The Case of Maria Novaro's Lola (1989); 4.1 The Conflicts of Motherhood; 4.2 Mothers and Daughters; 4.3 Mexico's sagrada familia Demystified; Chapter 4- Retorno el arrabal: The Case of Dana Rotberg's Angel de Fuego (1992); 1. Context(s); 2. Dana Rotberg and Angel de fuego (1992); 3. Three Different Visions of the arrabal in Mexican Cinematic History; 3.1 The Good: Rodriguez's 'Valle de Lagrimas / Valley of Tears' vs Galindo's "Social Realism." 3.2 The Bad: Benevolent Poverty on the Screen3.3 The Ugly: Bunel's Demystification of the arrabal; 3.3.1 Los olvidados (1950); 3.4 Rotberg's re-vision of the arrabal- Social/Poltical Contexts; 3.4.1 The arrabol Re-visited; 4 Representations of the Body in Angel de fuego- Body Vs Soul; 4.1 The Body as Sin; 4.1.1 The Body as Text; Chapter 5- Re-Mapping the Boderlands: Maria Novaro's El Jardin del Eden (1994); 1. Context(s); 1.1 El jardin del Eden (1994); 2. Geographies of Location: Borders and Boundaries- Physical Borders; 2.1 Boundaries- Geographical Boundaries; 2.1.1 Other Boundaries 3. Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. Accordingly, the study is divided into three sections, representing the key generic discourses that frame the films' narratives and underlying aims: The first analyzes contemporary Mexican cinema's re-presentation of history on the cinematic screen; the second part of the book examines the rise in the number of women directors, comparing it with the previous lack of female participation within the filmmaking arena; the last section explore Geschichte 1989-1999 gnd rswk-swf Motion pictures / Mexico Fine Arts ART / Film & Video bisacsh PERFORMING ARTS / Film & Video / Reference bisacsh Motion pictures fast Film Motion pictures Mexico Film (DE-588)4017102-4 gnd rswk-swf Mexiko Mexiko (DE-588)4039058-5 gnd rswk-swf Mexiko (DE-588)4039058-5 g Film (DE-588)4017102-4 s Geschichte 1989-1999 z 1\p DE-604 Erscheint auch als Druck-Ausgabe Haddu, Miriam Contemporary Mexican Cinema, 1989-1999 : History, Space and Identity http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=469154 Aggregator Volltext HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028464446&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Haddu, Miriam Contemporary Mexican Cinema, 1989-1999 History, Space and Identity Title Page; Copyright Page; Table of Contents; List of Illustrations; Preface; Foreword; Acknowledgements; Introduction- Mexican Filmmaking in the 1990's; Chapter 1- Political Histories: Three Case Studies; 1. Context(s); 2. Rojo amanecer (1989); 3. EL Bulto (1991); 31. Past and Present Collide; 3.2 Salinas' Mexico; 3.3 Political Revisions; 4. La Ley de Herodes (1999); 4.1 Political Stings; 4.2 Murder, Slander and Satire; 4.3 Political Maneuvers; Chapter 2- Rewriting the Conquest: Nicolas Exhvarria's Cabeza de Vaca (1992) and Salvador Carrasco's La Otra Conquista (1999) 1. Historical Context(s)1.1 The Year 1992; 2. Cabeza de Vaca (1992); 2.1 Truth and Lies; 2.2 Identity Crises; 2.3 Assimilation; 2.4 Conflicting Codes; 3. La Otra Conquista (1999); 3.1 The Spiritual Conquest; 3.1.1 The Mother; 3.1.2 The War of Images; 4. Reversing the Negative Paradigm; 4.1 This is my Body, this is my Blood; 5. A Hybrid Nation; Chapter 3- Re-defining la madre mexicana in Maria Novaro's Lola (1989); 1. Women and Filimmaking in Mexico: An Overview; 1.1 Sociohistorical Change(s); 2. Women Directors of Contemporary Mexican Cinema; 2.1 Female Narratives on the Contemporary Screen 3. The Creation of an Idol: Sara Garcia and la madre mexicana3.1 Mexico's Mothering Complex: An Overview; 4. Motherhood Re-Visited: The Case of Maria Novaro's Lola (1989); 4.1 The Conflicts of Motherhood; 4.2 Mothers and Daughters; 4.3 Mexico's sagrada familia Demystified; Chapter 4- Retorno el arrabal: The Case of Dana Rotberg's Angel de Fuego (1992); 1. Context(s); 2. Dana Rotberg and Angel de fuego (1992); 3. Three Different Visions of the arrabal in Mexican Cinematic History; 3.1 The Good: Rodriguez's 'Valle de Lagrimas / Valley of Tears' vs Galindo's "Social Realism." 3.2 The Bad: Benevolent Poverty on the Screen3.3 The Ugly: Bunel's Demystification of the arrabal; 3.3.1 Los olvidados (1950); 3.4 Rotberg's re-vision of the arrabal- Social/Poltical Contexts; 3.4.1 The arrabol Re-visited; 4 Representations of the Body in Angel de fuego- Body Vs Soul; 4.1 The Body as Sin; 4.1.1 The Body as Text; Chapter 5- Re-Mapping the Boderlands: Maria Novaro's El Jardin del Eden (1994); 1. Context(s); 1.1 El jardin del Eden (1994); 2. Geographies of Location: Borders and Boundaries- Physical Borders; 2.1 Boundaries- Geographical Boundaries; 2.1.1 Other Boundaries 3. Imagined Spaces: Re-locating the Garden of EdenChapter 6- Mexico's Other Geographies: The Big City vs The Country; 1. Context(s); 1.1 The City in Mexican Cinema; 1.1.1 Mexico City in Golden Age Cinema; 1.2 Contemporary Mexican Cinema Returns to the City; 2. Solo con tu pareja (1991); 2.1 Mexico City in Solo con tu pareja (1991); 2.1.1 Urban Geographies; 2.2 The Postmodern City; 3. The 'Other' Mexicos; 3.1 The Birth of the Rancheras; 3.2 Rural Life in Golden Age Mexican Cinema: the Figueroa-Fernandez Formula; 3.2.1 Mexicanidad on the Screen This study examines, contextualizes, and evaluates the significance of contemporary Mexican filmmaking, focusing on the so-called 'cine nuevo' of 1989-1999. Accordingly, the study is divided into three sections, representing the key generic discourses that frame the films' narratives and underlying aims: The first analyzes contemporary Mexican cinema's re-presentation of history on the cinematic screen; the second part of the book examines the rise in the number of women directors, comparing it with the previous lack of female participation within the filmmaking arena; the last section explore Motion pictures / Mexico Fine Arts ART / Film & Video bisacsh PERFORMING ARTS / Film & Video / Reference bisacsh Motion pictures fast Film Motion pictures Mexico Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4039058-5 |
| title | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_auth | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_exact_search | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_full | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_fullStr | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_full_unstemmed | Contemporary Mexican Cinema, 1989-1999 History, Space and Identity |
| title_short | Contemporary Mexican Cinema, 1989-1999 |
| title_sort | contemporary mexican cinema 1989 1999 history space and identity |
| title_sub | History, Space and Identity |
| topic | Motion pictures / Mexico Fine Arts ART / Film & Video bisacsh PERFORMING ARTS / Film & Video / Reference bisacsh Motion pictures fast Film Motion pictures Mexico Film (DE-588)4017102-4 gnd |
| topic_facet | Motion pictures / Mexico Fine Arts ART / Film & Video PERFORMING ARTS / Film & Video / Reference Motion pictures Film Motion pictures Mexico Mexiko |
| url | http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=469154 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028464446&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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