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

Detalhes bibliográficos
Autor(a) principal: Puydinger De Fazio, Andréa Helena
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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spelling 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
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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||
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