Ik ben dus op zoek naar

Tevens zou ik erg geholpen zijn met alle literatuurverwijzingen, artikelen, websites, feiten etc. etc. die met dit onderwerp te maken hebben.

Alles is welkom, hoe vergezocht ook. De schifting maak ik zelf wel.

Alvast enorm bedankt

[Dit bericht is gewijzigd door SunChaser op 14-04-2003 13:28]

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Op maandag 14 april 2003 13:18 schreef SunChaser het volgende:
El Norte is echt een goede film: gaat over 2 Mexicanen, broer en zus, die vluchten naar Amerika om werk te zoeken.

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_{Overigens komen de personages uit Guatemala, niet Mexico.}

[Dit bericht is gewijzigd door Kwark op 14-04-2003 13:29]

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Op maandag 14 april 2003 13:28 schreef Kwark het volgende:
keep 'em coming!

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Maar kan er niet egt bedenken (behalve die genoemd zijn) die daar raakvlakken mee hebben, helaas

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Op maandag 14 april 2003 13:18 schreef SunChaser het volgende:
El Norte is echt een goede film: gaat over 2 Mexicanen, broer en zus, die vluchten naar Amerika om werk te zoeken.

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David R. Maciel is a professor of history at the University of New Mexico whose books include Aztlán: Historia del pueblo chicano and El Norte: The U.S.-Mexican Border in Contemporary Cinema.

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Transcultured Anticommunism. Cold War Hollywood in Postwar Mexico.
This essay analyzes two examples of cinematic transculturation between Mexico and the United States in the Cold War: The Fugitive (1947) and Dicen que soy comunista (1951). Although scholarship in Mexico, the United States, and elsewhere acknowledges the importance of international interactions in the development of each natio's cinema, little work has moved beyond the screen to investigate that relationship. More generally within the field of "film studies" attempts to "historicize" cinema have generally produced compelling criticism but inadequate historical contextualization and little original research about the connections of film to state and society, economy and ideology. This article unites the intertwined histories of production and representation within a methodological framework that bridges the artificial divide often separating political economy and cultural studies. Empirically, this essay draws upon a wide range of Mexican and U.S. sources, including government and film-industry archives, read against critical analysis of the ideological operations of the films themselves.

_{Seth Fein. Profesor de Historia en la Universidad del Estado de Georgia en Atlanta y, a partir de enero de 2002, profesor de Historia de las Relaciones Internacionales de Estados Unidos en la Universidad de Yale. Es doctor por la Universidad de Texas en Austin. Sus ensayos más recientes han sido publicados en Mexico's Cinema (1999) y Close Encounters of Empire (1998). Actualmente trabaja en un libro sobre Estados Unidos y la Época de Oro del cine mexicano.}

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Seth Fein has taught history at Georgia State University and the Instituto Mora in Mexico City and will be joining the faculty at Yale University beginning this Spring. He has published numerous articles and book chapters on U.S.-Mexico relations and the relation between film and history and is currently completing a book entitled Transnational Projections: The United States in the Golden Age of Mexican Cinema.

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Op maandag 14 april 2003 14:57 schreef Kwark het volgende:
Geheugensteuntjes voor mijzelf en those interested (if any )
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Op maandag 14 april 2003 15:12 schreef donald_dick het volgende:

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beetje topickicken?

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_kick!

Bread and Roses was a one-sided portrayal of a small group of recent immigrants involved in a Los Angeles janitor strike. The main story follows Maya, a young woman whose older sister helped to enter the U.S. as an illegal immigrant. She is adventurous, impulsive, and pugnacious in ways that get her both in and out of trouble repeatedly during the course of the film. The language and situations she, her friends, and family encounter are realistic even if the picture we see of their lives is limited to their heroism and kindness. Although the images we see of their opposition in the strike are uniformly negative and limited, if you watch it purely for the insights into the lives of the workers, it is well worth the effort.

Salt of the Earth is an honest story about a real strike by miners at a southwestern zinc mine. The company tried to break the strike by obtaining a court order requiring that miners stop picketing, but the wives of miners were not specified and they continued picketing in defiance. The story is as much about equality and respect for Hispanics and women as it is about the labor conflict. The film was made in 1954, the screenwriter and director among others were blacklisted for many years, and the film itself was blacklisted. The Library of Congress has preserved it as a landmark film. Most of those appearing in the film were non-actors. When the dialogue veers into propaganda, it shows in the sometimes-wooden delivery of lines. The bulk of the screenplay is well written, however, and since it directly related to the real lives of some appearing in the movie, much of the action and acting seemed very real and fresh. Few movies show the hard lives of real people chopping wood, heating water for domestic use in ramshackle houses without plumbing, arguing with spouses for basic respect, and hanging out laundry. If it were not for occasional preaching and propaganda, this could have been a great film in all respects.

Met dank aan DFC-2 van het IMDB Forum

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Op maandag 14 april 2003 13:57 schreef victorinox het volgende:
The Good, The Bad And The Ugly

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Op maandag 14 april 2003 19:20 schreef IntelliEye het volgende:

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Dit is een Spaanse film die echt helemaal niets met Mexico of de VS te maken heeft.

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Op maandag 14 april 2003 13:06 schreef Kwark het volgende:
Voor het vak America through Film moet ik een research paper schrijven over een film/USA-gerelateerd onderwerp.

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Je zou Frida en Three Amigos (1986) kunnen gebruiken. Vooral Frida is interessant omdat de Mexicanen er in eerste instantie niet erg blij mee waren, waar ook veel over is gepubliceerd.

grappige film, en veel cultuur historische beelden eigenlijk wel..