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Title: The spectacle of masculinites : violence and modernity in the Mexican melodrama of the Golden Age
Author: Boscarin Bórax , Leonardo Andrés
Awarding Body: Queen's University Belfast
Current Institution: Queen's University Belfast
Date of Award: 2012
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Abstract:
Film critic Jorge Ayala Blanco observed that, despite the fact that the depiction of violence was key to the popularity of the Mexican cinema of the Golden Age (1940-50), its representation was never approached 'seriously' (1968: 164). This suggestion has encouraged me to pursue an interrogation of the role of violence in the cinema of the era. Its origins can be located in the revolutionary conflict of 1910, that established the relation between violence and masculinity as inseparable, as the emphasis on the macho stereotype as incarnated in the figure of the bandit/hero demonstrates. This model of masculinity was put into question in the 40s when, due to the economic and cultural influence of the United States, it became necessary to civilize the excesses of proletarian masculinity. Through an analysis of the actors Pedro Arrnendariz, David Silva y Pedro Infante, my research explores the ways in which the Mexican cinema presented 'different ways of being 'a man' (King 2003: 149) during this period. My contention is that the masculine models that were offered through the image of these actors, helped to negotiate strategies to appease the transit from the last revolutionary experiments of cardenismo (1934-40) to the consolidation of the capitalist model in the Manuel Avila Camacho sexenio (1940-46). Apart from Infante, none of these actors have previously been the object of a detailed analysis. The focus of my argument is unique too, in locating masculinities at the intersection of violence, modernity and melodrama. My analysis privileges the idea of a plurality of masculinities (Connell 2005) and the concept of 'charisma' (Dyer 1998) to analyse the melodramatic excess incarnated in the 'spectacle of manly honour' (Parra 2005: ) - a concept that can be understood as seeking to capture the moment in which, because of the loss of political and social meaning, manifestations of violence become the object of cinematographic voyeurism. Sequn el critico Jorge Ayala Blanco (1968: 164) la representaci6n de la violencia en el cine mexicano de la Edad de Oro (1940-50) nunca fue abordada 'seriamente', a pesar de que esta a la base de su popularidad. Este comentario me estimulo a interrogarme acerca del rol de la representacion de la violencia, a cuyo origen puede colocarse el conflicto revolucionario de 1910. En este contexto, la relacion entre violencia y masculinidad es inseparable, como demuestra el enfasis en el estereotipo del macho encarnado en la figura del bandido/heroe. Este sera puesto en discusion en los arios cuarenta, cuando se haga necesario civilizar los excesos de la masculinidad popular debido a la influencia economica y cultural de Estados Unidos. A traves del analisis de los actores Pedro Armendariz, David Silva y Pedro Infante, mi investigacion explora la manera en que el cine mexicano represento las 'diferentes maneras de ser un hombre' (King: 149) durante este periodo. Mi tesis es que los modelos masculinos propuestos a traves de la imagen de estos actores contribuyeron a negociar las estrategias para transitar desde los ultirnos experimentos revolucionarios del cardenismo (1934-40) hasta la consolidacion del modelo capitalista a partir del gobierno de Manuel Avila Camacho (1940-46). Aparte del hecho de que ninguno de los actores mencionados ha recibido un analisis detail ado a excepcion de Infante, el enfoque de esta investigacion es unico por colocar las masculinidades en la interseccion de la violencia, la modernidad y el melodrama. Mi analisis privilegia la idea de una pluralidad de masculinidades (Connell 2005) y el concepto del carisma (Dyer 1998) para analizar el exceso melodramatico encarnado en el 'espectaculo del honor masculino' (Parra 2005), que puede entenderse como el momento en el cual las manifestaciones de la violencia se vuelven objeto del voyeurismo cinematografico, al perder su sentido politico y social.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.579580  DOI: Not available
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