La India María : : Mexploitation and the Films of María Elena Velasco / / Seraina Rohrer.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package 2017
• VerfasserIn: Rohrer, Seraina,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2017
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (220 p.)
• Other title: Frontmatter --; Contents --; Acknowledgments --; Introduction --; Chapter 1. La India María: From Vaudeville to the Big Screen --; Chapter 2. Mexploitation --; Chapter 3. Box-Office Moneymakers and Small-Screen Hits --; Chapter 4. Hated by Critics, Loved by the People --; Chapter 5. Crossing Borders: India María’s Diaspora --; Epilogue. India María and Mexploitation Today --; Overview of India María Films --; Filmography --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477313466; 9783110745313
• DOI: 10.7560/313442
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Seraina Rohrer.

La India María—a humble and stubborn indigenous Mexican woman—is one of the most popular characters of the Mexican stage, television, and film. Created and portrayed by María Elena Velasco, La India María has delighted audiences since the late 1960s with slapstick humor that slyly critiques discrimination and the powerful. At the same time, however, many critics have derided the iconic figure as a racist depiction of a negative stereotype and dismissed the India María films as exploitation cinema unworthy of serious attention. By contrast, La India María builds a convincing case for María Elena Velasco as an artist whose work as a director and producer—rare for women in Mexican cinema—has been widely and unjustly overlooked. Drawing on extensive interviews with Velasco, her family, and film industry professionals, as well as on archival research, Seraina Rohrer offers the first full account of Velasco’s life; her portrayal of La India María in vaudeville, television, and sixteen feature film comedies, including Ni de aquí, ni de allá [Neither here, nor there]; and her controversial reception in Mexico and the United States. Rohrer traces the films’ financing, production, and distribution, as well as censorship practices of the period, and compares them to other Mexploitation films produced at the same time. Adding a new chapter to the history of a much-understudied period of Mexican cinema commonly referred to as “la crisis,” this pioneering research enriches our appreciation of Mexploitation films.