Celluloid nationalism and other melodramas : from post-revolutionary Mexico to fin de siglo Mexamérica

Celluloid Nationalism and Other Melodramas looks at representation and rebellion in times of national uncertainty. Moving from mid-century Mexican cinema to recent films staged in Los Angeles and Mexico City, Susan Dever analyzes melodrama’s double function as a genre and as a sensibility, revealing coincidences between movie morals and political pieties in the civic-minded films of Emilio Fernández, Matilde Landeta, Allison Anders, and Marcela Fernández Violante. These filmmakers’ rationally and emotionally engaged cinema—offering representations of indigenous peoples and poor urban women who alternately endorsed "civilizing" projects and voiced resistance to such totalization—both interrupts and sustains fictions of national coherence in an increasingly transnational world. CELLULOID NATIONALISM AND OTHER MELODRAMAS......Page 4 CONTENTS......Page 8 LIST OF ILLUSTRATIONS......Page 10 ACKNOWLEDGMENTS......Page 14 PROLOGUE......Page 18 INTRODUCTION: Of Melodrama and Other Inspirations......Page 22 PART I: Post-Revolutionary Mexico......Page 62 1. Re-Birth of a Nation: On Mexican Movies, Museums, and María Félix......Page 64 2. Las de abajo: Matilde Landeta’s Mexican Revolution......Page 88 3. Pimps, Prostitutes, and Politicos: Matilde Landeta’s Trotacalles and the Regime of Miguel Alemán......Page 112 PART II: Fin de Siglo Mexamérica......Page 140 4. Neomelodrama as Participatory Ethnography: Allison Anders’s Mi vida loca......Page 142 5. The Last Judgment: Marcela Fernández Violante’s Requiem (for) Melodrama......Page 184 EPILOGUE: Deeds that Inspire Confidence......Page 212 NOTES......Page 214 BIBLIOGRAPHY......Page 250 B......Page 268 E......Page 269 I......Page 270 M......Page 271 P......Page 272 T......Page 273 Z......Page 274 "Celluloid Nationalism and Other Melodramas looks at representation and rebellion in times of national uncertainty. Moving from mid-century Mexican cinema to recent films staged in Los Angeles and Mexico City, Susan Dever analyzes melodrama's double function as a genre and as a sensibility, revealing coincidences between movie morals and political pieties in the civic-minded films of Emilio Fernandez, Matilde Landeta, Allison Anders, and Marcela Fernandez Violante. These filmmakers' rationally and emotionally engaged cinema -- offering representations of indigenous peoples and poor urban women who alternately endorsed "civilizing" projects and voiced resistance to such totalization -- both interrupts and sustains fictions of national coherence in an increasingly transnational world."--Back cover. Annotation A volume in the SUNY series, Cultural Studies in Cinema/Video Wheeler Winston Dixon, editor and A volume in the SUNY series in Feminist Criticism and Theory Michelle A. Masse, editor