The Mexican Revolution on the World Stage

Adela Pineda Franco

Description

The first major social revolution of the twentieth century, the Mexican Revolution was visually documented in technologically novel ways and to an unprecedented degree during its initial armed phase (1910–21) and the subsequent years of reconstruction (1921–40). Offering a sweeping and compelling new account of this iconic revolution, The Mexican Revolution on the World Stage reveals its profound impact on both global cinema and intellectual thought in and beyond Mexico. Focusing on the period from 1940 to 1970, Adela Pineda Franco examines a group of North American, European, and Latin American filmmakers and intellectuals who mined this extensive visual archive to produce politically engaged cinematic works that also reflect and respond to their own sociohistorical contexts. The author weaves together multilayered analysis of individual films, the history of their production and reception, and broader intellectual developments to illuminate the complex relationship between culture and revolution at the onset of World War II, during the Cold War, and amid the anti-systemic movements agitating Latin America in the 1960s. Ambitious in scope, this book charts an innovative transnational history of not only the visual representation but also the very idea of revolution.
List of Illustrations
Acknowledgments
List of Abbreviations
Introduction

1. The Mirage of Community: A Mexican Village in Times of War

2. Zapata in the Presidential Chair: Viva Zapata!

3. The “Quién Sabe” of Revolution in the Italian Western

4. Resisting the Populist Temptation: México, la revolución congelada and Raymundo Gleyzer’s Latin Americanist Cinema

Epilogue

Notes
Works Cited
Index

Sujets

• Film
• Caribbean
• Mexico
• Cinema
• History of film
• History of the Americas
• Latin America
• Visual culture
• Película fotográfica
• Latin American

Informations

• Publié par: State University of New York Press
• Date de parution: 23 juillet 2019
• Nombre de lectures: 0
• EAN13: 9781438475622
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

The Mexican Revolution on the World Stage
SUNY series in Latin American Cinema

Ignacio M. Sánchez Prado and Leslie L. Marsh, editors
The Mexican Revolution on the World Stage
Intellectuals and Film in the Twentieth Century
Adela Pineda Franco
Cover image: “Villa en la silla presidencial.” Photo courtesy of the Getty Research Institute.
Published by State University of New York Press, Albany
© 2019 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY
www.sunypress.edu
Library of Congress Cataloging-in-Publication Data
Names: Pineda Franco, Adela Eugenia, 1964– author.
Title: The Mexican Revolution on the world stage : intellectuals and film in the twentieth century / Adela Pineda Franco.
Description: | Series: SUNY series in Latin American cinema | Includes bibliographical references and index.
Identifiers: LCCN 2018043448 | ISBN 9781438475615 (hardcover : alk. paper) | ISBN 9781438475608 (pbk.) | ISBN 9781438475622 (ebook)
Subjects: LCSH: Mexico—History—Revolution, 1910–1920—Motion pictures and the revolution. | Nationalism in motion pictures. | War films—History and criticism.
Classification: LCC F1234.5 .P56 2019 | DDC 791.43/658720816—dc23
LC record available at https://lccn.loc.gov/2018043448
10 9 8 7 6 5 4 3 2 1
To my beloved parents, Susana Franco González and Carlos Pineda Linton (in memoriam)
And to my dear family, Susana Camille Plotts-Pineda, Boris Corredor, and Santiago Corredor-Vergara
Last, to Charlie and Bichita, for the joy they bring to my life
Contents
List of Illustrations
Acknowledgments
List of Abbreviations
Introduction Chapter 1 The Mirage of Community: A Mexican Village in Times of War Chapter 2 Zapata in the Presidential Chair: Viva Zapata! Chapter 3 The “Quién Sabe” of Revolution in the Italian Western Chapter 4 Resisting the Populist Temptation: México, la revolución congelada and Raymundo Gleyzer’s Latin Americanist Cinema
Epilogue
Notes
Works Cited
Index
Illustrations Figure 1.1 Kline and Hammid during the shooting of The Forgotten Village. Figure 1.2 Kline on location in Mexico. Figure 1.3 Hammid, camera in hand, during the shooting of The Forgotten Village. Figure 1.4 Kline’s crew filming pupils at a rural school during the shooting of The Forgotten Village. Figure 1.5 Rural Mexico in The Forgotten Village. Figure 1.6 Kline and Hammid filming Trini. Figure 1.7 Kline’s crew in the shooting of a scene featuring Trini. Figure 2.1 “Francisco Villa en la silla presidencial.” Figure 2.2 The reproduction of “Francisco Villa en la silla presidencial” in Viva Zapata! Figure 2.3 Fernando, the heavy-handed counselor to President Zapata. Figure 3.1 Tate’s assassination in the hands of Chuncho, a still shot from Quien sabe? Figure 3.2 Four atypical Mexican revolutionaries faced the firing squad, a still shot from Quien sabe? Figure 3.3 Bill Tate upon arrival in Mexico, a still shot from Quien sabe? Figure 4.1 Humberto Ríos, María Elena Vera, Juana Sapire, and Raymundo Gleyzer with Antonio López Hernández and his extended family during the shooting of México, la revolución congelada. Figure 4.2 Raymundo Gleyzer and Humberto Ríos during the shooting of México, la revolución congelada. Figure 4.3 Raymundo Gleyzer and Juana Sapire in Mexico during the shooting of México, la revolución congelada. Figure 4.4 Raymundo Gleyzer interviews Antonio López Hernández in Yucatán. Figure 4.5 Perón’s picture as the index of Barrera’s betrayal to the working class in Los traidores. Figure 4.6 Vicente Lombardo Toledano, tutelary image of the PPS leader in México, la revolución congelada. Figure 4.7 Juana Sapire, sound designer of México, la revolución congelada.
Acknowledgments
I am indebted to numerous persons and institutions, without whose support and input I would not have been able to finish this book. Special thanks go to Susana Plotts-Pineda for being the first person to read the manuscript, not only as a copyeditor, but also as an attentive reader whose thoughtful insight helped bring greater clarity and incisiveness to the development of my arguments. I also thank Boris Corredor and Santiago Corredor-Vergara for their invaluable insights on the overall design of the book cover. If the ideas in this book were able to come to a full life on paper, it is also thanks to the intellectual generosity of several friends and colleagues. I am particularly indebted to Ignacio M. Sánchez Prado, Pedro Ángel Palou, Pablo Piccato, Jorge Aguilar Mora, Juan Pablo Dabove, Horacio Legrás, Max Parra, Mauricio Tenorio, Claudio Lomnitz, Adolfo Castañón, Bruno Bosteels, Carl Good, Eduardo de la Vega Alfaro, Michael K. Schuessler, John Mraz, Julio Ramos, Héctor Hoyos, Ximena Briceño, Lucia Cardone, Alessandro Rocco, and Pierpaolo Campana. I am also grateful to my students at Boston University: Ana Bazdresch Barquet, Guillermo Espinosa Estrada, Alina Peña Iguarán, Edgar Mejía, Catalina Donoso, Victoria Livingstone, Alexis Ortiz, Nadia Mann, Alejandra Cornejo, Magdalena Malinowska, Isabel Castro Escudero, Alia Wong, Saraí García Santos, Edgardo Tormos Bigles, José Luis Nogales Baena, David Shames, Gerardo Cruz González, Cecilia Weddell, Stephen Krawek, and, at MIT, Joel Yuen Zhou. They all helped me continue to find meaning in this extensive project with their boundless intellectual curiosity and encouragement. A special acknowledgment goes to Christopher Middleton (in memoriam), Enrique Fierro (in memoriam), Edward Simmen (in memoriam), Waldo Lloreda, Naomi Lindstrom, Mabel Moraña, and Aníbal González Pérez for their immense generosity and guidance throughout the years.
I have been lucky enough to count on the ongoing support of my colleagues at the Romance Studies Department and the Center of Latin American Studies, for which I thank them dearly. I am particularly grateful to Christopher Maurer for the many insightful comments on many of my publications and to Odile Cazenave for her unconditional support during challenging times. I was able to visit several archives and present advances of this work in many congresses thanks to the institutional support of the Department of Romance Studies, the Center for the Humanities, the Pardee School of Global Studies, and the College of Arts and Sciences at Boston University.
My gratitude also goes to Jimena Obregón Iturra and Néstor Ponce at the University of Rennes, Diana Hernández Suárez and Ingrid Simson at the Institute for Latin American Studies of Freie Universität, Berlin, Javier Pérez Siller, Alejandro Ramírez Lámbarry and Francisco Ramírez Santacruz at the Benemérita Universidad Autónoma de Puebla, Jacobo Sefamí at Middlebury College, Oswaldo Zavala at CUNY, Susan Antebi at the University of Toronto, Manuel Gutiérrez at Rice University, Magdalena Mieri at the National Museum of American History, Bernd Hausberger and Raffaele Moro at the Colegio de México, Álvaro Ruiz Abreu at Universidad Autónoma Metropolitana, Laura Torres and Dylon Robbins at New York University, Aníbal González Pérez at Yale University, Mauricio Tenorio at the University of Chicago, Glen Goodman at the University of Illinois Urbana-Champaign, and Jorge Quintana-Navarrete and Mary Coffey at Dartmouth College. They granted me the opportunity to present some of the topics related to this larger work at the above-mentioned institutions. I am particularly thankful to UC Mexicanistas and Sara Poot Herrera for providing a platform for intellectual growth and community in Santa Barbara, California, that extends beyond academic careerism. Viviane Mahieux, Fernando Fabio Sánchez, Gerardo García Muñoz, Bernd Hausberger, Raffaele Moro, Jaime Marroquín, Magdalena Mieri, Jimena Obregón, and Marco Martínez gave me the opportunity to explore the global dimension of the Mexican Revolution at large when I joined their efforts in developing a wide range of collective publications. 1 My deep appreciation goes to all of them as well.
My previous work on John Steinbeck forms the basis of the first two chapters of this book. In 2016, I was fortunate to receive the National Malcolm Lowry Essay Prize (Instituto Nacional de Bellas Artes, 2016) for my sixty-page essay Las travesías de John Steinbeck por México, el cine y las vicisitudes del progreso , subsequently published by the Fondo Editorial del Estado de Morelos, under the series “Colección Premio Malcom Lowry.” I thank Mauricio Montiel Figueiras, Lidia Camacho, Cristina Faesler Bremer, Cristina Rivera Garza, Alejandro Toledo, and Alejandro García Neria, authorities and jurors of the Malcolm Lowry Award, as well as Sergio David Lara Castañeda, editor in charge of the publication. This award gave me the inspiration to develop in depth not only my work on Steinbeck in Steinbeck y México. Una mirada cinematográfica en la era de la hegemonía estadounidense (Bonilla y Art