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Notes    preface 1. The photograph reportedly was taken by Infante’s brother-in-law Guillermo López Castro in 1939, which would put Infante’s age at twenty-two. There is, however, a clear discrepancy: in the photograph, Infante has the body and face of a man who is over thirty years old. 2. I discuss the photograph in light of the proliferation of research about men and masculinity in “Masculinidad y mexicanidad: panorama teórico-bibliográfico” (1998). I am eternally grateful to Claudia Tovar for searching high and low to secure me a copy ofHijo de tigre . . . pintito. 3. Unless otherwise indicated, all translations are mine. In Chapter One, Regina Rocha assisted me with the translations of Santa. Gustavo García helped me translate parts of Chapter Two. introduction 1. Afichera is a woman who works at cabarets. She dances with patrons of the establishment for a fixed sum and keeps them company and may offer sexual services. A ficha is a token or a chip used as a form of currency. Customers pay for the number of fichas accrued at the end of the evening. Women who work as ficheras often have another occupation such as domestic servant, store clerk, or secretary. 2. This term came up during the many conversations I shared with Benjamin Lawrance during the process of revising this book. He suggested I title the book Mexican Cinemachismo . I modified the title and fleshed out the meaning of the concept. 3. The definitive study on the contributions of the Contemporáneos group to modern Mexican culture is Guillermo Sheridan’s exhaustive study Los contemporáneos ayer (1985). Excellent scholarship that analyzes the homophobia directed against the Contemporáneos in light of the construction of a revolutionary literature and a new national culture includes Balderston (1998), Irwin (2003), and Monsiváis (2001). 4. A note of clarification regarding the translation of titles is in order. Where applicable , the titles as they appeared in English-speaking markets are italicized, such as Like Water for Chocolate. Titles that I translated appear without italics. 5. On the image of the charro as icon of mexicanidad see Palomar Verea (2004). Two excellent overviews of the immensely popular folkloric images of Mexican culture circulated through Mexican calendars since the 1930s are the exhibition catalogues Cronos y cromos (1993) and La patria portátil: 100 Years of Mexican Chromo Art Calendars (1999). 6. A definition of what is meant by “cabaret” in Mexico is necessary. According to Armando Jiménez’s (1998: 42– 43) lively study of dance halls, cabarets, billiard halls, and theaters in Mexico City, a cabaret can be a nightclub, dance hall, bar, restaurant, brothel; basically it is a place where (mostly) adults congregate to socialize and where they can dance, drink alcoholic beverages, watch musical performances, listen to (live) music, engage in sexual activities. 7. Among the most notable studies of women in Mexican film are Arredondo (2001), Dever (2003), Franco (1989), Fregoso (2003), Hershfield (1996, 2000), Iglesias and Fregoso (1998), López (1991), Millán (1999), Monsiváis (1995, 1997b), Paranaguá (1998a, 2003), Pick (1993), Ramírez Berg (1992), Rashkin (2001), Tierney (1997, 2003), Torres San Martín (1998, 2001, 2004), Torres San Martín and Vega (1997), and Tuñón (1998, 2000). 8. A cross-section of literary and film scholarship on representations of gender in Mexico, and in particular masculinities, includes Acevedo-Muñoz (2003), Balderston (1997, 1998), Burton-Carvajal (1997), Foster (1991, 1997a, 1997b, 2002, 2003a, 2003b), Díaz-López (2005), Irwin (2003), Monsiváis (1995, 1997b), Muñoz (1996), Noble (2003), Ortiz (1996), Paranaguá (1998a, 2003), Ramírez Berg (1992), Schaefer (1996), Torres San Martín (2001), and Tuñón (1998). 9. On this subject see the essays in Irwin, McCaughan, and Nasser (2003). 10. I thank Elissa Rashkin for this insight regarding my formulation of the macho-joto interdependent relation. 11. See de Orellana (1992). 12. Included among the groundbreaking audience reception studies of Mexican film are Iglesias (1998, 1999), Torres San Martín (unpublished), and the various chapters in the anthology edited by Néstor García Canclini (1994). 13. Filmmaker Gregorio Rocha’s excellent documentary Los rollos perdidos de Pancho Villa (2003) focuses on Rocha’s quest to find the missing narrative film The Life of General Villa (1913) filmed under contract between Villa and Mutual Film. The story of Villa and Mutual Film was turned into a feature film produced and broadcast...

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