Artful Assassins: Murder as Art in Modern Mexico

Index

219 Index Page numbers in bold refer to illustrations. Aburto, Mario, 146–48 Alemán, Miguel, 37, 40, 73, 87, 189n2, 192n24 Amores perros and art, 170–72 and Chivo, 174 and cinematic techniques, 168, 197n14 and the city, 173–75 and Mexican reality, 161–62 and modernity, 168 and murder, 2, 6, 161, 180 and violence, 165–67 See also González Iñárritu, Alejandro Anderson, Benedict, 9, 20–21, 96 and imagined community, 15, 26–27, 60, 98, 177 and reassuring fratricide, 14–15, 28, 30 Araiza, Raúl, 197n15 Ariel (Rodó), 42 Arriaga, Guillermo, 161 asesino solitario, Un (Mendoza) and assassination, 6, 158, 180 and guerrillas, 165 and Mexican reality, 159–60, 173 and neopolicíaco, 146–47 themes, 149, 154–55, 166–67 See also Mendoza, Élmer assassination, in contrast to murder and “asesinato,” 14. See also death scene; murder Astucia, el jefe de los hermanos de la hoja o Los charros contrabandistas de la hoja (Inclán), 10 Aventurera (Gout), 73–74 Ávila Camacho, Manuel, 37, 87, 180 Azuela, Mariano, 28–30 Los de abajo, 29, 108 bandidos de Río Frío, Los (Payno), 4, 10–11, 41, 114 Bang! Bang! Pesquisas sobre narrativa policial Mexicana (Lozano and Flores), 4 Barthes, Roland, 28, 62 Bartra, Roger Cage of Melancholy, The, 169 and de-modernity, 126 and Mexicanness, 38–39, 74, 127, 159, 176 and modernization, 7 and political culture, 50 and Revolution, 96–97, 135 and Zapatistas, 153–54 Benjamin, Walter, 26, 199n17 Bermúdez, María Elvira, 11, 61–62, 129, 189n3 Bernal, Rafael assassination in, 89, 100, 180–81 and the city, 101–3, 121 critiques of, 91, 98, 110, 124, 141 and the intelligentsia, 95, 97 and literature, 109, 123 and the Mexican canon, 205n7 “De muerte natural,” 191n15 muerto en la tumba, Un, 11, 62 and the Revolution, 93 and the spy novel, 90, 116 Tres novelas policiacas, 11, 62 See also El complot mongol Bojórquez, Alberto, 197n15 Borges, Jorge Luis, 9, 61, 82 Bracho, Julio (La sombra del caudillo), 100, 166 220 ArtfulAssassins Braham, Persephone, 4–5, 128–30 Brehme, Hugo, 105, 106 Buñuel, Luis and Ensayo de un crimen, 43, 77–78, 81 and Los olvidados, 81 and El río y la muerte, 190n5 Bustillo Oro, Juan, 2, 56, 97–98, 141, 180 on beast sequence in El hombre sin rostro, 75–77 on caberetera sequence in El hombre sin rostro, 70–72 and general information on El hombre sin rostro, 63–67 cabeza de la hidra, La (Fuentes) and assassination, 159 as example of la Escritura, 111 genre of, 122–23 and high art, 116, 145 and industrialization, 113 and masculinity, 167 and Mexicanness, 181 and Mexico City, 126, 143, 173 and modern Mexico, 89, 125 and nationalism, 111–12, 117 and oil, 112 and power, 119–21 and the state, 6 See also Fuentes, Carlos Calles Elías, Plutarco, 18, 20, 44, 166 Cantinflas, 64, 74, 124, 142 capitalism, 7, 9, 12, 189n1, 198n17 Cárdenas, Cuauhtémoc, 148 Cárdenas, Lázaro, 12–13, 18, 37, 85–86, 111, 119, 141 Carranza, Venustiano, 12, 14–15, 19, 21, 45 Casa del Lago, 107 Casasola, Agustín, 139, 140 caudillos, 1, 20, 45, 53, 99, 179 assassination of, 13–14 lesser-known, 14 representation of, 53 Cazador en el alba (Ayala), 31 Cazals, Felipe, 197n15 Chandler, Raymond, 11, 130 Chiapas insurrection, 128–29, 149–53, 165, 197n10 cinema of Mexico golden age, 39, 73–74, 78 in the 1970s, 158, 198n20 in the 1980s, 165, 198n20 in the 1990s, 165–66, 173, 198n21 in the 2000s, 173 Ciudad Juárez, 162, 173 Close, Glen S., 16, 185n1 Colosio, Luis Donaldo, 128, 146–49, 159 complot mongol, El (Bernal) and death scene, 89 and detective, 98 and detective fiction, 110 and masculinity, 100 and Mexico, 84–85 and Mexico City, 101 and nationalism, 97 and violence, 89, 101–2 See also Bernal, Rafael Confederation of Mexican Workers (CTM), 52, 190n10 Contemporáneos, 6, 30–36, 57–58, 106–7, 179–80, 182 controversy of 1925, 28–29 controversy of 1932, 34 as critics of the postrevolutionary narrative, 32, 34–36, 188n23 and Golden Age Poets, 188n24 corruption, 52, 83, 95, 129, 135, 142, 164 Cosa fácil (Taibo) and assassination, 6, 148, 180–81 and the city, 143 and corruption, 135 and guerrillas, 165 and neopolicíaco, 130, 141 and postrevolutionary Mexico, 131, 167 and social action, 145 themes in, 108–9, 128, 133...