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MarÃa Félix (1914-2002) left her mark on Mexican and European
film as well as fashion, art and jewellery design. Cartier created
one-of-a-kind pieces; Leonora Carrington and Diego Rivera painted
portraits; Carlos Fuentes wrote a play; AgustÃn Lara, a
bestselling song. But she was nobody's muse. MarÃa Félix
(1914-2002) left her mark on Mexican and European film as well as
fashion, art and jewellery design. Cartier created one-of-a-kind
pieces; Leonora Carrington and Diego Rivera painted portraits;
Carlos Fuentes wrote a play; AgustÃn Lara, a bestselling song. But
she was nobody's muse. Did Félix really bring baby crocodiles to
the Cartier boutique to request lifelike copies in a necklace? The
story may be apocryphal, but it perfectly encapsulates her
powerful, independent and unconventional persona. This book first
examines Félix's life and work, reviewing her films and acting
style and considering what they say about gender norms and a
woman's place on screen. It then turns to her role as curator and
benefactor, exploring how art, literature and song sustained her
image. It concludes by exploring the persistent interest in her
life story and evaluating her significance for contemporary
audiences.
This volume examines how the field of Chicana/o studies has
developed to become an area of interest to scholars far beyond the
United States and Spain. For this reason, the volume includes
contributions by a range of international scholars and takes the
concept of place as a unifying paradigm. As a way of overcoming
borders that are both physical and metaphorical, it seeks to
reflect the diversity and range of current scholarship in Chicana/o
studies while simultaneously highlighting the diverse and
constantly evolving nature of Chicana/o identities and cultures.
Various critical and theoretical approaches are evident, from
eco-criticism and autoethnography in the first section, to the role
of fiction and visual art in exposing injustice in section two, to
the discussion of transnational and transcultural exchange with
reference to issues as diverse as the teaching of Chicana/o studies
in Russia and the relevance of Anzaldua's writings to post 9/11
U.S. society.
This volume examines how the field of Chicana/o studies has
developed to become an area of interest to scholars far beyond the
United States and Spain. For this reason, the volume includes
contributions by a range of international scholars and takes the
concept of place as a unifying paradigm. As a way of overcoming
borders that are both physical and metaphorical, it seeks to
reflect the diversity and range of current scholarship in Chicana/o
studies while simultaneously highlighting the diverse and
constantly evolving nature of Chicana/o identities and cultures.
Various critical and theoretical approaches are evident, from
eco-criticism and autoethnography in the first section, to the role
of fiction and visual art in exposing injustice in section two, to
the discussion of transnational and transcultural exchange with
reference to issues as diverse as the teaching of Chicana/o studies
in Russia and the relevance of Anzaldua's writings to post 9/11
U.S. society.
Riven with unresolved traumas and appropriated by successive
governments, the past haunts spaces in Mexican film and visual
culture. These events, without consensus or a singular/unifying
narrative, act like spectres haunting the present. To comprehend
how they manifest, Legacies of the Past considers how filmmakers
and visual artists have found ways of understanding these haunted
spaces. With case studies of films like El atentado (2010), Flor en
Otomi (2012) and the photography of Dulce Pinzon, this collection
analyses the audio-visual representations of several heightened
events in Mexican history. The conbtributors' explorations,
imaginings and counter-imaginings bring the past to the foreground,
creating new narratives and proposing new histories in order to
show the significance of storytelling and narrative for a shared
understanding of ourselves.
Riven with unresolved traumas and appropriated by successive
governments, the past haunts spaces in Mexican film and visual
culture. These events, without consensus or a singular/unifying
narrative, act like spectres haunting the present. To comprehend
how they manifest, Legacies of the Past considers how filmmakers
and visual artists have found ways of understanding these haunted
spaces. With case studies of films like El atentado (2010), Flor en
Otomi (2012) and the photography of Dulce Pinzon, this collection
analyses the audio-visual representations of several heightened
events in Mexican history. The contributors' explorations,
imaginings and counter-imaginings bring the past to the foreground,
creating new narratives and proposing new histories in order to
show the significance of storytelling and narrative for a shared
understanding of ourselves.
Revolution and Rebellion in Mexican Film examines Mexican films of
political conflict from the early studio Revolutionary films of the
1930-50s up to the campaigning Zapatista films of the 2000s.
Mapping this evolution out for the first time, the author takes
three key events under consideration: the Mexican Revolution
(1910-1920); the student movement and massacre in 1968; and,
finally, the more recent Zapatista Rebellion (1994-present).
Analyzing films such as Vamanos con Pancho Villa (1936), El Grito
(1968), and Corazon del Tiempo (2008), the author uses the term
'political conflict' to refer to those violent disturbances,
dramatic periods of confrontation, injury and death, which
characterize particular historical events involving state and
non-state actors that may have a finite duration, but have a
long-lasting legacy on the nation. These conflicts have been an
important component of Mexican film since its inception and include
studio productions, documentaries, and independent films.
Revolution and Rebellion in Mexican Film examines Mexican films of
political conflict from the early studio Revolutionary films of the
1930-50s up to the campaigning Zapatista films of the 2000s.
Mapping this evolution out for the first time, the author takes
three key events under consideration: the Mexican Revolution
(1910-1920); the student movement and massacre in 1968; and,
finally, the more recent Zapatista Rebellion (1994-present).
Analyzing films such as Vamanos con Pancho Villa (1936), El Grito
(1968), and Corazon del Tiempo (2008), the author uses the term
'political conflict' to refer to those violent disturbances,
dramatic periods of confrontation, injury and death, which
characterize particular historical events involving state and
non-state actors that may have a finite duration, but have a
long-lasting legacy on the nation. These conflicts have been an
important component of Mexican film since its inception and include
studio productions, documentaries, and independent films.
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