Cinemachismo: Masculinities and Sexuality in Mexican Film

Acknowledgments

Acknowledgments    M any 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 research. Julianne’s pioneer work on the New Latin American Cinema— which I read as an undergraduate at California State University, San Francisco , in a course taught by John Hess—first inspired me to study Latin American cinema. I thank her for encouraging my research since the very first day I climbed up the hills of Merrill College at UCSC to introduce myself. Both Julianne and Norma were crucial in introducing me to a broad community of scholars and filmmakers whose work continues to nourish and inspire me. My colleagues in Chicana/o Studies, Richard Berteaux, Angie Chabram -Dernersesian, Miroslava Chávez-García, Adela de la Torre, Yvette Flores Ortíz, Lorena García, Kevin Johnson, Malaquías Montoya, Beatriz Pesquera, Refugio Rochín, and Adaljiza Sosa-Riddell, continue to be tremendously supportive. I owe special gratitude to my mentor and friend Angie Chabram-Dernersesian for believing in me and cheering me on to the finish line and for making me feel at home at UCD since I first interviewed for the job. Ada’s enthusiasm and fiery spirit continue to inspire me. Many thanks to the fabulous staff, past and present, at Chicana/o Studies, especially Delfina Redfield, Griselda Castro, Alma Martínez, Kathy S. Hayden, Nitzia Ramírez, and Mark Williams. Rosa Linda Fregoso and Kent Ono played a crucial role in helping me transform the dissertation into a book. Both were incredibly generous xvi Cinemachismo with their time and gave me feedback and support at various stages of the writing. I am very lucky to count both Rosa Linda and Kent as mentors who, despite their demanding professional schedules, took the time to give me sound advice and positive encouragement. Rosa Linda is for me a model scholar and colleague. I am deeply grateful to my hada madrina Zuzana M. Pick for her generosity in both her recommendations for revising and her always encouraging support through the very last stages of completing this project. I am very thankful to the anonymous readers whose concrete feedback improved the quality of this book considerably. Gwen Kirkpatrick and Francine Masiello gave me shelter at their lovely homes in Berkeley. The love, advice, and generosity they gave me have made all the difference in the world. I am profoundly grateful to the University of Texas Press team, led by Jim Burr, who oversaw the project from beginning to end. I thank Lynne Chapman, who guided the project during its final stages, and Tana Silva for her enthusiastic and engaged editorial assistance. Nancy Bryan was responsible for marketing. Finally, I thank Tom Gelsinon for his professional editorial assistance. I’d like to thank all the people and institutions that have funded my research : Office of Research and Division of Humanities, Arts and Cultural Studies, College of Letters and Science, University of California, Davis; UC Davis Humanities Institute; Chicana Latina Research Center, UC Davis ; Humanities Institute at the University of California, Irvine; Chicano/ Latino Research Center, UC Santa Cruz; the Literature Department and the Graduate Division, UC Santa Cruz; National Research Council Ford Foundation Dissertation Fellowship. Many colleagues and friends provided support and/or critical feedback at various stages in the research and writing. First I’d like to thank the Latin American and Latino film scholars who’ve been a great source of inspiration : Tamara Falicov, Itzia Fernández, Gustavo García, Ramón García, Rita González, John Hess, Randal Johnson, Jesse Lerner, Ana M. López, Carlos Monsiváis, Kathleen Newman, Chon A. Noriega, Vicki Mayer, Paulo Antonio Paranaguá, Charles Ramírez Berg, B. Ruby Rich, Jorge Ruffinelli, Dolores M. Tierney, Carlos Alberto Torrico, Julia Tuñón, Juan Carlos Vargas, Eduardo de la Vega, Margarita de la Vega Hurtado, and especially Gilberto Blasini, Susan Dever, Laura Podalsky, Elissa J. Rashkin, Patricia Torres, and Lucy Virgen. I am indebted to Lucy and Patricia for generously sharing their resources and always making themselves available for feedback. At UC Davis I thank my colleagues, friends, and folks who’ve supported my work: JoAnne Cannon, Carolyn de la Peña, Nicole Fleetwood, Joaquín Galvan, Francisca González, Gayatri Gopinath, Inés...