Mexican Melodrama: Film and Nation from the Golden Age to the New Wave

Synopsis

Mexican Melodrama Offers A Timely Look At Critically Acclaimed Films That Serve As Key Referents In Discussions Of Mexican Cinema. Elena Lahr-vivaz Artfully Portrays The Dominant Conventions Of Historical And Contemporary Mexican Cinema, Showing How New-wave Directors Draw From A Previous Generation To Produce Meaning In The Present--provided By Publisher. Introduction -- Melodrama And Mexico. Key Terms ; Melodrama's Golden Age (1930-1958) ; Crisis And Resurgence (1959-1990) ; The New-wave Nation (1991-2005) -- Taming Nosotros. Enamorada (woman In Love, Emilio Fernández, 1946) ; Como Aguapara Chocolate (like Water For Chocolate, Alfonso Arau, 1992) ; Entre Pancho Villa Y Una Mujer Desnuda (between Pancho Villa And A Naked Woman, Sabina Berman And Isabelle Tardán, 1996) -- The Ties That Bind. La Mujer Del Puerto (the Woman Of The Port, Arcady Boytler, 1933) ; La Tarea Prohibida (forbidden Home Work, Jaime Humberto Hermosillo, 1992) ; Modelo Antiguo (vintage Model, Raúl Araiza, 1992) ; Ángel De Fuego (angel Of Fire, Dana Rotberg, 1992) -- Nosotros No More. Nosotros Lospobres (we The Poor, Ismael Rodríguez, 1947) ; Amores Perros (love's A Bitch, Alejandro González Iñárritu, 2000) ; El Crimen Del Padre Amaro (the Crime Of Father Amaro, Carlos Carrera, 2002) -- Seeing Stars. Cuando Los Hijos Se Van (when The Children Leave, Juan Bustillo Oro, 1941) ; Japón (japan, Carlos Reygadas, 2002) ; Batalla En El Cielo (battle In Heaven, Carlos Reygadas, 2005) -- Re-sounding Melos. ¡¿qué Ha Dado Esa Mujer?! (what Has That Woman Given You?!, Ismael Rodríguez, 1951) ; Sólo Con Tu Pareja (love In The Time Of Hysteria, Alfonso Cuarón, 1991) ; Y Tu Mamá También (and Your Mother Too, Alfonso Cuarón, 2001) -- Conclusion. Elena Lahr-vivaz. Includes Bibliographical References And Index.