Laura Isabel Serna – författare
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4 produkter
4 produkter
Inbunden, Engelska, 2014
1 185 kr
Skickas inom 5-8 vardagar
In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
Häftad, Engelska, 2014
308 kr
Skickas inom 5-8 vardagar
In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
E-bok
PDF, Engelska, 2014487 kr
Läs direkt efter köp
In the 1920s, as American films came to dominate Mexico''s cinemas, many of its cultural and political elites feared that this "Yanqui invasion" would turn Mexico into a cultural vassal of the United States. In Making Cinelandia, Laura Isabel Serna contends that Hollywood films were not simply tools of cultural imperialism. Instead, they offered Mexicans on both sides of the border an imaginative and crucial means of participating in global modernity, even as these films and their producers and distributors frequently displayed anti-Mexican bias. Before the Golden Age of Mexican cinema, Mexican audiences used their encounters with American films to construct a national film culture. Drawing on extensive archival research, Serna explores the popular experience of cinemagoing from the perspective of exhibitors, cinema workers, journalists, censors, and fans, showing how Mexican audiences actively engaged with American films to identify more deeply with Mexico.
Häftad, Engelska, 2023
380 kr
Skickas inom 5-8 vardagar
Selected writings by early LA cultural critic Gabriel Navarro, in English for the first timeIn the 1920s and 1930s a uniquely Mexican American entertainment culture flourished across the southwestern United States. Spanish-language newspapers offered theater listings, coverage of favorite performers, cultural criticism, and serialized novels that thematized entertainment culture. Gabriel Navarro was a key figure in this milieu. "There Are No Hispanic Stars!" assembles the novellas and articles that represent his extensive body of film and cultural criticism. Covering a range of topics from the lives of Hollywood's well-known Mexican actors to the plight of Mexican extras and the formation of amateur film clubs, Navarro allowed his readers to participate in the construction of a Latina/o Hollywood. At the same time, he urged Hollywood not to overlook its Latina/o audiences. Together, these writings present a lively look at the film culture that emerged in the Southwest's Mexican immigrant community. The introduction situates Navarro's writing within the context of Mexican-oriented journalism and cultural politics of the era.