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dc.rights.licensehttp://creativecommons.org/licenses/by-nc/4.0es_ES
dc.contributorJose Oscar Avila Juarezes_ES
dc.creatorMonica Beatriz Hurtado Ayalaes_ES
dc.date2017-10-
dc.date.accessioned2019-02-19T16:34:09Z-
dc.date.available2019-02-19T16:34:09Z-
dc.date.issued2017-10-
dc.identifier.urihttp://ri-ng.uaq.mx/handle/123456789/1144-
dc.descriptionThe masculinities of contemporary Mexico can’t understand outside of the historical processes that constructed and delimited them, in this way one of the inheritances that forged them was the cultural sediment that left the Mexican cinema of the Golden Age, or more specifically the one of the forties. Much of the studies that have been done around the cinematography of the period or even some reflections regarding cultural processes that affect the construction of the Mexican masculinity identity, have made a great emphasis on the legacy around stereotypes like charro or macho, proposing that both acted as elements that forged normative notions that legitimized male hegemony in Mexican society. Our research considers that it is indispensable to recognize not only whether or not cinema paid for the legitimation of masculinity, but also how it happened. In this regard, we propose that thinking about Mexican cinema in the terms already mentioned institutionalizes an extremely partial, homogeneous and inoperable view that it is essential to rethink, observing the representations indicated as part of a broader process regarding the struggles around the intended meaning to give to the practices, and for that reason tensions that involved the power. Thus our reflection is about the historical construction of the genre through the analysis of cultural representations of masculinities in two films La familia Pérez and La oveja negra (1949), which were chosen because of the cultural roots of their protagonists, to a "typical" of the production of the period and by the way in which they seem to approach subjects that were cause of anguishes also in their historical space. To carry out this we return to the concept of collective representations constructed by the historian Roger Chartier, according to which they act as true social institutions that forge the identities; as well as the film analysis proposal of the sociologist Pierre Sorlin that, from our perspective, achieves a methodology that allows us to weave the film with its historical space. In the end, the research concludes on the most subtle changes around a series of practices related to the exercise of manhood such as fatherhood, work, domination of women and erotic experiences, emotional or sexual, which were originated by the way in which modernity shook traditional processes of constitution of the male gender.es_ES
dc.formatAdobe PDFes_ES
dc.language.isoEspañoles_ES
dc.relation.requiresSies_ES
dc.rightsAcceso Abiertoes_ES
dc.subjectMexican cinemaes_ES
dc.subjectmasculinitieses_ES
dc.subjectmenes_ES
dc.subjectgenderes_ES
dc.subjectrepresentationses_ES
dc.subjectpaternityes_ES
dc.subjectworkes_ES
dc.subjecthonores_ES
dc.subjectcharroes_ES
dc.subjectnorteñoes_ES
dc.subjectmachoes_ES
dc.subjectPedro Infantees_ES
dc.subjectFernando Soleres_ES
dc.subjectJoaquín Pardavées_ES
dc.subjectSara Garcíaes_ES
dc.subject.classificationCIENCIAS SOCIALESes_ES
dc.titleHombres en la sombra: Representaciones de las masculinidades en la familia pérez y la oveja negra (1949).es_ES
dc.typeTesis de maestríaes_ES
dc.creator.tidcurpes_ES
dc.contributor.tidcurpes_ES
dc.creator.identificadorHUAM811211MGTRYN02es_ES
dc.contributor.identificadorAIJO680728HDGVRS06es_ES
dc.contributor.roleDirectores_ES
dc.degree.nameMaestría en Estudios Históricoses_ES
dc.degree.departmentFacultad de Filosofíaes_ES
dc.degree.levelMaestríaes_ES
Aparece en: Maestría en Estudios Históricos

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