Maria Felix: the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970
In my project, I analyze the star text of María Félix (1914-2002). In spite of her prolific film career of 47 films and her memorable image in the media, the scholarly treatment of her films and larger star text has been limited. As vintage film magazines and Mexican melodramatic comics attest, Féli...
Gespeichert in:
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| Format: | Abschlussarbeit Elektronisch E-Book |
| Sprache: | German |
| Veröffentlicht: |
2005
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| Online-Zugang: | Volltext |
| Zusammenfassung: | In my project, I analyze the star text of María Félix (1914-2002). In spite of her prolific film career of 47 films and her memorable image in the media, the scholarly treatment of her films and larger star text has been limited. As vintage film magazines and Mexican melodramatic comics attest, Félix was very visible and her personal life was scrutinized as her "real-life" self played out characteristics from her mala mujer film persona—her multiple husbands and lovers, her relationship with her son, and even her wardrobe choices. I analyze many of her films and her image in other forms of media such as fotonovelas, trade magazines, and her biographical sources in the following chapters. Her star image is powerful and far-reaching and presents an alternative model of Mexican womanhood from the beginning of her film career in the 1940s through (and even beyond) her last film in 1970. The star text of María Félix is a site that registered tensions between modernity and the traditional at a particular moment in Mexican history. The Mexican Revolution of 1910 brought many changes to society as warfare destabilized the family and disrupted the region. After the war, the Revolution became institutionalized as the government attempted to put into practice the goals of the Revolution. From the 1940s and throughout 1950s and 1960s it was a time of increased industrialization and urbanization as people migrated to the cities to find employment, as it became increasingly difficult to support a family through farming. These social tensions registered in her films and star text are in relation to women’s changing roles as Mexican women gained more political freedoms, including national suffrage in 1953,and began working outside the home as the nation became more industrialized and urbanized throughout the 1940s and subsequent decades. |
| Beschreibung: | 184 S. |
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| 520 | |a In my project, I analyze the star text of María Félix (1914-2002). In spite of her prolific film career of 47 films and her memorable image in the media, the scholarly treatment of her films and larger star text has been limited. As vintage film magazines and Mexican melodramatic comics attest, Félix was very visible and her personal life was scrutinized as her "real-life" self played out characteristics from her mala mujer film persona—her multiple husbands and lovers, her relationship with her son, and even her wardrobe choices. I analyze many of her films and her image in other forms of media such as fotonovelas, trade magazines, and her biographical sources in the following chapters. Her star image is powerful and far-reaching and presents an alternative model of Mexican womanhood from the beginning of her film career in the 1940s through (and even beyond) her last film in 1970. The star text of María Félix is a site that registered tensions between modernity and the traditional at a particular moment in Mexican history. The Mexican Revolution of 1910 brought many changes to society as warfare destabilized the family and disrupted the region. After the war, the Revolution became institutionalized as the government attempted to put into practice the goals of the Revolution. From the 1940s and throughout 1950s and 1960s it was a time of increased industrialization and urbanization as people migrated to the cities to find employment, as it became increasingly difficult to support a family through farming. These social tensions registered in her films and star text are in relation to women’s changing roles as Mexican women gained more political freedoms, including national suffrage in 1953,and began working outside the home as the nation became more industrialized and urbanized throughout the 1940s and subsequent decades. | ||
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| spelling | Drake, Susan Wiebe Verfasser aut Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 Susan Wiebe Drake 2005 184 S. txt rdacontent c rdamedia cr rdacarrier Columbus, Ohio State Univ., Spanish and Portuguese, Diss., 2005 In my project, I analyze the star text of María Félix (1914-2002). In spite of her prolific film career of 47 films and her memorable image in the media, the scholarly treatment of her films and larger star text has been limited. As vintage film magazines and Mexican melodramatic comics attest, Félix was very visible and her personal life was scrutinized as her "real-life" self played out characteristics from her mala mujer film persona—her multiple husbands and lovers, her relationship with her son, and even her wardrobe choices. I analyze many of her films and her image in other forms of media such as fotonovelas, trade magazines, and her biographical sources in the following chapters. Her star image is powerful and far-reaching and presents an alternative model of Mexican womanhood from the beginning of her film career in the 1940s through (and even beyond) her last film in 1970. The star text of María Félix is a site that registered tensions between modernity and the traditional at a particular moment in Mexican history. The Mexican Revolution of 1910 brought many changes to society as warfare destabilized the family and disrupted the region. After the war, the Revolution became institutionalized as the government attempted to put into practice the goals of the Revolution. From the 1940s and throughout 1950s and 1960s it was a time of increased industrialization and urbanization as people migrated to the cities to find employment, as it became increasingly difficult to support a family through farming. These social tensions registered in her films and star text are in relation to women’s changing roles as Mexican women gained more political freedoms, including national suffrage in 1953,and began working outside the home as the nation became more industrialized and urbanized throughout the 1940s and subsequent decades. (DE-588)4113937-9 Hochschulschrift gnd-content http://rave.ohiolink.edu/etdc/view?acc_num=osu1118953316 Volltext |
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| title | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 |
| title_auth | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 |
| title_exact_search | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 |
| title_exact_search_txtP | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 |
| title_full | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 Susan Wiebe Drake |
| title_fullStr | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 Susan Wiebe Drake |
| title_full_unstemmed | Maria Felix the last great Mexican film diva ; the representation of women in Mexican film, 1940-1970 Susan Wiebe Drake |
| title_short | Maria Felix |
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