The White Indians of Mexican Cinema : : Racial Masquerade Throughout the Golden Age.

• Superior document: SUNY Series in Latin American Cinema Series
• Author: García Blizzard, Mónica.
• Place / Publishing House: Albany : : State University of New York Press,, 2022.; {copy}2022.
• Year of Publication: 2022
• Edition: 1st ed.
• Language: English
• Series: SUNY Series in Latin American Cinema Series
• Physical Description: 1 online resource (328 pages)

Examines the filmic representation of Whiteness as Indigeneity and its role in mediating racial politics in Mexico.

Table of Contents

Intro -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- The Persistent Privilege of Whiteness in Mexico -- Indigenista Visual Production and Cultural Anxiety -- Contextualizing Race and Gender On-screen -- Colonizing Desire -- Colonizing Subjectivity -- Whiteness, Melodrama, and Hegemony -- The White Indians of Mexican Cinema -- Chapter 1 Idealized Pre-Columbian Womanhood -- Zítari (1931) -- Chilam Balam (1957) -- Conclusion -- Chapter 2 Taming the Tehuana -- Nineteenthand Early Twentieth-Century Representations of the Tehuana in Mexico -- La Zandunga (1938) -- Tierra de pasiones (1943) -- Conclusion -- Chapter 3 Revolutionary Politics, Colonized Aesthetics -- La india bonita (1938) -- El indio (1939) -- María Candelaria (1944) -- Maclovia (1948) -- Looking Beyond Industrial Representation: Janitzio (1935) and "La potranca" (Raíces, 1955) as Counterexamples -- Conclusion -- Chapter 4 Reframing Mestizaje: White Mayans, Indigenous Spirituality, and Cenote Suicides -- La noche de los mayas (1939) -- Deseada (1951) -- Conclusion -- Chapter 5 María Isabel: A White Indita for Modern Mexico -- María Isabel (1967) -- El amor de María Isabel (1970) -- Conclusion -- Chapter 6 Indios, Desire, and the White Mexican Woman -- Tribu (1935) -- Lola Casanova (1949) -- Tizoc (Amor indio) (1957) -- El violetero (1960) -- Beyond the Golden Age -- Conclusion -- Conclusion -- Bibliography -- Index.