Introduction. Macho Nation?

Sergio de la Mora

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Introduction. Macho Nation?

Sergio de la Mora

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Ein Kapitel aus dem Buch Cinemachismo

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de la Mora, Sergio. "Introduction. Macho Nation?". Cinemachismo: Masculinities and Sexuality in Mexican Film, New York, USA: University of Texas Press, 2006, pp. 1-20. https://doi.org/10.7560/712966-003

de la Mora, S. (2006). Introduction. Macho Nation?. In Cinemachismo: Masculinities and Sexuality in Mexican Film (pp. 1-20). New York, USA: University of Texas Press. https://doi.org/10.7560/712966-003

de la Mora, S. 2006. Introduction. Macho Nation?. Cinemachismo: Masculinities and Sexuality in Mexican Film. New York, USA: University of Texas Press, pp. 1-20. https://doi.org/10.7560/712966-003

de la Mora, Sergio. "Introduction. Macho Nation?" In Cinemachismo: Masculinities and Sexuality in Mexican Film, 1-20. New York, USA: University of Texas Press, 2006. https://doi.org/10.7560/712966-003

de la Mora S. Introduction. Macho Nation?. In: Cinemachismo: Masculinities and Sexuality in Mexican Film. New York, USA: University of Texas Press; 2006. p.1-20. https://doi.org/10.7560/712966-003

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Frontmatter i
Contents vi
Preface. How I Too Came to Love Pedro Infante viii
Acknowledgments xv
Introduction. Macho Nation? 1
1. “Midnight Virgin”: Melodramas of Prostitution in Literature and Film 21
2. Pedro Infante Unveiled: Masculinities in the Mexican “Buddy Movie” 68
3. The Last Dance: (Homo)Sexuality and Representation in Arturo Ripstein’s El lugar sin límites and the Fichera Subgenre 105
4. Mexico’s Third-Wave New Cinema and the Cultural Politics of Film 135
Epilogue. Mexican Cinema is Dead! Long Live Mexican Cinema! 163
Notes 180
Works Consulted 197
Index 227

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https://doi.org/10.7560/712966-003

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Frontmatter i
Contents vi
Preface. How I Too Came to Love Pedro Infante viii
Acknowledgments xv
Introduction. Macho Nation? 1
1. “Midnight Virgin”: Melodramas of Prostitution in Literature and Film 21
2. Pedro Infante Unveiled: Masculinities in the Mexican “Buddy Movie” 68
3. The Last Dance: (Homo)Sexuality and Representation in Arturo Ripstein’s El lugar sin límites and the Fichera Subgenre 105
4. Mexico’s Third-Wave New Cinema and the Cultural Politics of Film 135
Epilogue. Mexican Cinema is Dead! Long Live Mexican Cinema! 163
Notes 180
Works Consulted 197
Index 227

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