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.