Celluloid Nationalism and Other Melodramas: From Post-Revolutionary Mexico to fin de siglo Mexamerica

LIST OF ILLUSTRATIONS

FIGURE p.1. Return to the Light. Mural by Charles Freeman, 1994. 2 FIGURE i.1. Flor silvestre’s revolutionary bedfellows. 13 FIGURE i.2. Dolores del Río and marranito in María Candelaria. 26 FIGURE i.3. Matilde Landeta on the set of La Negra Angustias. 28 FIGURE i.4. Independent production: the car Landeta hocked to 32 make her films. FIGURE i.5. María Elena Marqués as La Negra Angustias and 32 Elda Peralta as a Federalist wife. FIGURE i.6. La Negra’s fleeting heterosexual fling. 33 FIGURE i.7. Quinine queue in María Candelaria. 34 FIGURE 1.1. María Candelaria’s “colorful natives.” 48 FIGURE 1.2. María Candelaria’s fetishized feminine. 48 FIGURE 1.3. La virgen María (Félix) in Río Escondido. 50 FIGURE 1.4. Félix as Doña Bárbara, devourer of men. 53 FIGURE 1.5. Exotic Hollywood/Brazilian Dolores del Río in 54 Flying Down to Rio. FIGURE 1.6. María Félix nationalizes Hollywood. 56 FIGURE 1.7. Mapy Cortés exoticizes Mexico. 57 FIGURE 1.8. National arbiter Félix in Río Escondido. 60 FIGURE 2.1. Learning about “Juárez and Cervantes, Kant 72 and Freud.” I L L U S T R A T I O N S ��� ix FIGURE 2.2. New laboring citizens of Mexico’s burgeoning 75 industrial economy. FIGURE 2.3. Movie magazine drama of the U.S.-inspired 78 “National Dairy.” FIGURE 2.4. Matilde Landeta, Francisco Rojas González, and 82 María Elena Marqués. FIGURE 2.5. Félix: from shrew to soldadera in Enamorada. 84 FIGURE 2.6. Rojas González’s acknowledgment to Landeta. 87 FIGURE 2.7. Meche Barba’s Lola Casanova before enlightenment. 88 FIGURE 2.8. Isabela Corona’s Tórtola Parda wielding influence 89 in Lola Casanova. FIGURE 2.9. The Creole Malinche Casanova betraying her 91 Spanish ancestry. FIGURE 2.10. Traditionalist Tórtola about to “betray” 92 transculturating Seris. FIGURE 3.1. Isabela Corona, Miroslava, Elda Peralta, and 96 Ernesto Alonso in Trotacalles. FIGURE 3.2. Trotacalles’s Ernesto Alonso as suave society man 101 and pimp. FIGURE 3.3. Marga López and Rodolfo Acosta in one of 104 Salón México’s darkest moments. FIGURE 3.4. Andrea Palma and Pedro Armendáriz in the 105 optimistic noir, Distinto amanecer. FIGURE 3.5. Isabela Corona as Ruth, coughing up advice 114 in Trotacalles. FIGURE 3.6. Elda Peralta and Ernesto Alonso as Trotacalles’s 117 working couple. FIGURE 4.1. Nina Belanger as Gas Food Lodging’s “Elvia Rivero.” 129 FIGURE 4.2. Fabulous fake: a moment from Gas Food Lodging’s 131 “Elvia Rivero” movie. FIGURE 4.3. Bit player as Fairuza Balk’s Shade’s alter ego in 131 Gas Food Lodging. FIGURE 4.4. Belanger as “Elvia Rivero” in Anders’s ersatz film 141 Sacred Dudes. x ILLUSTRATIONS FIGURE 4.5. Angel Aviles and Seidy Lopez as Mi vida loca’s 143 “Mona’n’Maribel.” FIGURE 4.6. Julian Reyes and Gabriel Gonzales in Mi vida loca. 150 FIGURE 4.7. Mi vida loca’s Jacob Vargas as Ernesto, posing 153 with minitruck “Suavecito.” FIGURE 4.8. “Mona’n’Maribel” gazing at “Suavecito.” 154 FIGURE 5.1. Matilde Landeta, Marcela Fernández Violante, 175 and María Novaro. FIGURE 5.2. The adulterous protagonist of La diosa arrodillada, 179 María Félix. FIGURE 5.3. Apasionada’s Leticia Palma reframed in 180 De cuerpo presente. FIGURE 5.4. Cristina Baker as the Paloma reimagined by 181 De cuerpo presente. FIGURE 5.5. Las noches de Paloma as seen by the studio. 182 FIGURE 5.6. La casa del pelícano as reinterpreted by 185 De cuerpo presente. FIGURE 5.7. La oveja negra production still. 187 FIGURE 5.8. Pedro Armendáriz uncorks in Las abandonadas; 188 De cuerpo presente recaptures. FIGURE 5.9. El Mártir del Calvario before De cuerpo presente has 191 its way with Him. FIGURE 5.10. Poster for Luis Buñuel’s Ensayo de un crimen. 192 ILLUSTRATIONS xi ...