Here is the synopsis of our sample research paper on Mexican Film/Maria Candelaria. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 7 page research paper/essay that discusses Emilio Fernandez’s Maria Candelaria (1943) and how this film relates to the task of addressing the legacy of colonialism within the context of Mexican history. Mexico, as Andrea Noble points out, is fundamentally a “mestizo entity,” that is, it is the product of “the colonial encounter between Indians, Spaniards (and Africans)” (Noble 81). As such, the Mexican culture struggles to understand its fundamental nature and to express the cultural dichotomies held within this paradigm. One of the ways in which this task has been expressed is through cinema. Bibliography lists 5 sources.
Page Count:
7 pages (~225 words per page)
File: D0_khmexmc.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
such, the Mexican culture struggles to understand its fundamental nature and to express the cultural dichotomies held within this paradigm. One of the ways in which this task has been
expressed is through cinema. The following film analysis focuses on director Emilio Fernandezs Maria Candelaria (1943) and how this film relates to the task of addressing the legacy of colonialism
within the context of Mexican history. Benedict Anderson has written extensively on the role of media and film in formulating concepts of nationalism. In other words, people define themselves
and how they see their society at least in part through their fiction. For example, in 1816, Jose Joaquin Fernandez de Lizardi wrote El Periquillo Sarniento, which is considered to
be a "nationalist" novel that provides a "ferocious indictment of Spanish administration of Mexico," equating this government with the propagation of "ignorance, superstition and corruption" (Anderson 29). As this suggests,
novels helped to define Mexican nationalism in the nineteenth century, however, by the twentieth century and the 1940s, cinema was also serving this purpose. Mexican cinema in the 1940s owes
its tremendous success to a series of circumstances, such as the emergence of a number of significant and talented directors and cinematographers (King 47). The group that is credited for
establishing the "image" for the decade is "director Emilio "El Indio" Fernandez, cinematographer Gabriel Figueroa and actress Dolores del Rio" (King 47-48). One of the films that these three collaborated
on was Maria Candelaria (King 49). This film presents a "morally and physically perfect couple" who are tossed in the "maelstrom of change" (King 49). It is a "fable"
that concerns an indigenous woman who is believed by her community to be a prostitute, even though she is innocent (King 49). The plot largely involves a conflict between a
...