Cinemachismo

Cover

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Title Page, Copyright Page

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Contents

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pp. vi-vii

Preface: How I Too Came to Love Pedro Infante

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pp. viii-xiv

I still remember the shock and delight I experienced when I innocently came across a book with the nude photograph of Pedro Infante taking a shower. I was floored! My mind was reeling! I could not believe my eyes! There he was en cueros, the Mexican lover of the century, dubbed...

Acknowledgments

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pp. xv-xix

Many people and institutions made this book possible. At the University of California, Santa Cruz, where I did my graduate work, I was fortunate to be mentored by Julianne Burton-Carvajal, Norma Klahn, and José David Saldívar, who enthusiastically supported my...

Introduction: Macho Nation?

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pp. 1-20

S ince the end of the nineteenth century, fi lm has furnished a vehicle for the circulation of narratives of Mexican national identity. My interest lies with the various strategies used by cultural producers and consumers to negotiate and contest cinematic representations of...

1. “Midnight Virgin”: Melodramas of Prostitution in Literature and Film

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pp. 21-67

With no pretense of objectivity, I surmise that film junkies like myself would be hard pressed to find a more unusual take on the world’s oldest profession than the moody, film noir–laced musical cabaretera melodramas that were all the rage in Mexico in the 1940s and ’50s...

2. Pedro Infante Unveiled: Masculinities in the Mexican “Buddy Movie”

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pp. 68-104

In Mexican popular culture, the sexual and gender transgressions of the archetypal Mexican macho are a constant source of pleasure, fun, and banter. One need only look to the tradition of the albur to find sayings such as...

3. The Last Dance: (Homo)Sexuality and Representation in Arturo Ripstein’s El lugar sin límites and the Fichera Subgenre

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pp. 105-134

Of all the lonely and tortured losers and dreamers in Arturo Ripstein’s extensive filmography, La Manuela, the aging and somewhat grotesque transvestite star of El lugar sin límites (Hell Has No Limits/The Place Without Limits, 1977), stands out as his most memorable character...

4. Mexico’s Third-Wave New Cinema and the Cultural Politics of Film

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pp. 135-162

In the 1989 to 1994 administrative period, the ambitious initiatives of IMCINE Director Ignacio Durán Loera in collaboration with various national and international private and state cultural institutions carried out controversial changes to deregulate and privatize the film industry...

Epilogue: Mexican Cinema is Dead! Long Live Mexican Cinema!

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pp. 163-179

Not every actor inspires poetry. But for San Francisco Bay Area resident Marina García-Vásquez (2004), Gael García Bernal is...

Notes

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pp. 180-196

Works Consulted

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pp. 197-226

Index

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pp. 227-236