Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Antíteses |
Texto Completo: | https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/47650 |
Resumo: | In this article, we propose to analyze the representations of indigenous people and the spaces attributed to them in the Mexican film Rio Escondido (1947). Directed by Emílio Fernández and photographed by Gabriel Figueroa, Rio Escondido tells the story of Rosaura, a rural teacher who responds to the presidential call to bring education to a remote indigenous village. Aiming at the development of the analysis, we will focus on the filmic work, also considering the political-cultural context in which the source is inserted and the rich dialogue that marks the visual arts and Mexican national representations. Specifically about this dialogue, Diego Rivera's mural, Epopeya del pueblo mexicana, present in the film narrative, will also be the target of our reflections. We will base ourselves on theoretical-methodological discussions focused on the national identity of the Mexican case and on the analysis of cinematographic images. We start from the understanding that, despite the relevance attributed to indigenous peoples in the Mexican sociocultural formation and in the arts from the 1920s to the 1940s, visual representations assign them roles that place them on the margins, as supporting and passive ones. |
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Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio FernándezNacionalismo cultural e indigenismo en los murales y pantallas mexicanas.: reflexiones sobre las representaciones de los indígenas en la película Río Escondido (1947), de Emílio FernándezNacionalismo cultural e indigenismo em murais e telas mexicanos: reflexões sobre as representações dos indígenas no filme Rio Escondido (1947), de Emílio FernándezNationalismIndigenismMexicoCinemaRio EscondidoNacionalismoIndigenismoMéxicoCinemaRio EscondidoNacionalismoIndigenismoMéxicoCinemaRio EscondidoIn this article, we propose to analyze the representations of indigenous people and the spaces attributed to them in the Mexican film Rio Escondido (1947). Directed by Emílio Fernández and photographed by Gabriel Figueroa, Rio Escondido tells the story of Rosaura, a rural teacher who responds to the presidential call to bring education to a remote indigenous village. Aiming at the development of the analysis, we will focus on the filmic work, also considering the political-cultural context in which the source is inserted and the rich dialogue that marks the visual arts and Mexican national representations. Specifically about this dialogue, Diego Rivera's mural, Epopeya del pueblo mexicana, present in the film narrative, will also be the target of our reflections. We will base ourselves on theoretical-methodological discussions focused on the national identity of the Mexican case and on the analysis of cinematographic images. We start from the understanding that, despite the relevance attributed to indigenous peoples in the Mexican sociocultural formation and in the arts from the 1920s to the 1940s, visual representations assign them roles that place them on the margins, as supporting and passive ones.En este artículo nos proponemos analizar las representaciones de los indígenas y los espacios que se les atribuyen en la película mexicana Río Escondido (1947). Dirigida por Emílio Fernández y fotografiada por Gabriel Figueroa, Río Escondido cuenta la historia de Rosaura, una maestra rural que responde al llamado presidencial de llevar la educación a la lejana aldea indígena. Para desarrollar el análisis, nos centraremos en la obra fílmica, considerando también el contexto político-cultural en el que se inserta la fuente y el rico diálogo que marca las artes visuales y las representaciones nacionales mexicanas. Específicamente en torno a este diálogo, la pintura mural de Diego Rivera, Epopeya del pueblo México, presente en la narrativa cinematográfica, también será objeto de nuestras reflexiones. Nos centraremos en discusiones teórico-metodológicas centradas en la identidad nacional del caso mexicano y en el análisis de imágenes cinematográficas. Partimos de entender que, a pesar de la relevancia atribuida a los indígenas en la formación sociocultural y en las artes mexicanas de las décadas de 1920 a 1940, las representaciones visuales les atribuyen roles que los sitúan al margen, como actores secundarios y pasivos.Propomos, no presente artigo, analisar as representações dos indígenas e os espaços a eles atribuídos no filme mexicano Rio Escondido (1947). Dirigido por Emílio Fernández e fotografado por Gabriel Figueroa, Rio Escondido narra a trajetória de Rosaura, professora rural que atende ao chamado presidencial para levar a educação ao longínquo povoado indígena. Visando ao desenvolvimento da análise, debruçaremo-nos sobre a obra fílmica, considerando, também, o contexto político-cultural no qual se insere a fonte e o rico diálogo que marca as artes visuais e as representações nacionais mexicanas. Especificamente sobre esse diálogo, a pintura mural de Diego Rivera, Epopeya del pueblo mexicano, presente na narrativa fílmica, também será alvo de nossas reflexões. Pautaremo-nos em discussões teórico-metodológicas voltadas para a identidade nacional do caso mexicano e acerca da análise de imagens cinematográficas. Partimos da compreensão de que, apesar da relevância atribuída aos indígenas na formação sociocultural mexicana e nas artes das décadas de 1920 a 1940, as representações visuais lhes atribuem papéis que os inserem às margens, como coadjuvantes e passivos.Universidade Estadual de Londrina2023-09-18info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/4765010.5433/1984-3356.2023v16n31p460-496Antíteses; Vol. 16 No. 31 (2023): "Forests' histories and forests in stories and memories: dialogues between past, present and future"; 460-496Antíteses; v. 16 n. 31 (2023): "Histórias das florestas e florestas nas estórias e memórias: diálogos entre passado, presente e futuro"; 460-4961984-3356reponame:Antítesesinstname:Universidade Estadual de Londrina (UEL)instacron:UELporhttps://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/47650/49369Copyright (c) 2023 Andréa Helena Puydinger De Faziohttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessPuydinger De Fazio, Andréa Helena2023-10-10T14:46:20Zoai:ojs.pkp.sfu.ca:article/47650Revistahttps://www.uel.br/revistas/uel/index.php/antitesesPUBhttps://www.uel.br/revistas/uel/index.php/antiteses/oaiantiteses@uel.br||1984-33561984-3356opendoar:2023-10-10T14:46:20Antíteses - Universidade Estadual de Londrina (UEL)false |
dc.title.none.fl_str_mv |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández Nacionalismo cultural e indigenismo en los murales y pantallas mexicanas.: reflexiones sobre las representaciones de los indígenas en la película Río Escondido (1947), de Emílio Fernández Nacionalismo cultural e indigenismo em murais e telas mexicanos: reflexões sobre as representações dos indígenas no filme Rio Escondido (1947), de Emílio Fernández |
title |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
spellingShingle |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández Puydinger De Fazio, Andréa Helena Nationalism Indigenism Mexico Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido |
title_short |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
title_full |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
title_fullStr |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
title_full_unstemmed |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
title_sort |
Cultural nationalism and indigenism in Mexican murals and screens: reflections on the representations of indigenous people in the film Rio Escondido (1947), by Emílio Fernández |
author |
Puydinger De Fazio, Andréa Helena |
author_facet |
Puydinger De Fazio, Andréa Helena |
author_role |
author |
dc.contributor.author.fl_str_mv |
Puydinger De Fazio, Andréa Helena |
dc.subject.por.fl_str_mv |
Nationalism Indigenism Mexico Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido |
topic |
Nationalism Indigenism Mexico Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido Nacionalismo Indigenismo México Cinema Rio Escondido |
description |
In this article, we propose to analyze the representations of indigenous people and the spaces attributed to them in the Mexican film Rio Escondido (1947). Directed by Emílio Fernández and photographed by Gabriel Figueroa, Rio Escondido tells the story of Rosaura, a rural teacher who responds to the presidential call to bring education to a remote indigenous village. Aiming at the development of the analysis, we will focus on the filmic work, also considering the political-cultural context in which the source is inserted and the rich dialogue that marks the visual arts and Mexican national representations. Specifically about this dialogue, Diego Rivera's mural, Epopeya del pueblo mexicana, present in the film narrative, will also be the target of our reflections. We will base ourselves on theoretical-methodological discussions focused on the national identity of the Mexican case and on the analysis of cinematographic images. We start from the understanding that, despite the relevance attributed to indigenous peoples in the Mexican sociocultural formation and in the arts from the 1920s to the 1940s, visual representations assign them roles that place them on the margins, as supporting and passive ones. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-09-18 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/47650 10.5433/1984-3356.2023v16n31p460-496 |
url |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/47650 |
identifier_str_mv |
10.5433/1984-3356.2023v16n31p460-496 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/antiteses/article/view/47650/49369 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Andréa Helena Puydinger De Fazio https://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Andréa Helena Puydinger De Fazio https://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Estadual de Londrina |
publisher.none.fl_str_mv |
Universidade Estadual de Londrina |
dc.source.none.fl_str_mv |
Antíteses; Vol. 16 No. 31 (2023): "Forests' histories and forests in stories and memories: dialogues between past, present and future"; 460-496 Antíteses; v. 16 n. 31 (2023): "Histórias das florestas e florestas nas estórias e memórias: diálogos entre passado, presente e futuro"; 460-496 1984-3356 reponame:Antíteses instname:Universidade Estadual de Londrina (UEL) instacron:UEL |
instname_str |
Universidade Estadual de Londrina (UEL) |
instacron_str |
UEL |
institution |
UEL |
reponame_str |
Antíteses |
collection |
Antíteses |
repository.name.fl_str_mv |
Antíteses - Universidade Estadual de Londrina (UEL) |
repository.mail.fl_str_mv |
antiteses@uel.br|| |
_version_ |
1797069044226981888 |