Hombres en la sombra: Representaciones de las masculinidades en la familia pérez y la oveja negra (1949).

Monica Beatriz Hurtado Ayala

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dc.rights.license	http://creativecommons.org/licenses/by-nc/4.0	es_ES
dc.contributor	Jose Oscar Avila Juarez	es_ES
dc.creator	Monica Beatriz Hurtado Ayala	es_ES
dc.date	2017-10
dc.date.accessioned	2019-02-19T16:34:09Z
dc.date.available	2019-02-19T16:34:09Z
dc.date.issued	2017-10
dc.identifier.uri	http://ri-ng.uaq.mx/handle/123456789/1144
dc.description	The 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.format	Adobe PDF	es_ES
dc.language.iso	Español	es_ES
dc.relation.requires	Si	es_ES
dc.rights	Acceso Abierto	es_ES
dc.subject	Mexican cinema	es_ES
dc.subject	masculinities	es_ES
dc.subject	men	es_ES
dc.subject	gender	es_ES
dc.subject	representations	es_ES
dc.subject	paternity	es_ES
dc.subject	work	es_ES
dc.subject	honor	es_ES
dc.subject	charro	es_ES
dc.subject	norteño	es_ES
dc.subject	macho	es_ES
dc.subject	Pedro Infante	es_ES
dc.subject	Fernando Soler	es_ES
dc.subject	Joaquín Pardavé	es_ES
dc.subject	Sara García	es_ES
dc.subject.classification	CIENCIAS SOCIALES	es_ES
dc.title	Hombres en la sombra: Representaciones de las masculinidades en la familia pérez y la oveja negra (1949).	es_ES
dc.type	Tesis de maestría	es_ES
dc.creator.tid	curp	es_ES
dc.contributor.tid	curp	es_ES
dc.creator.identificador	HUAM811211MGTRYN02	es_ES
dc.contributor.identificador	AIJO680728HDGVRS06	es_ES
dc.contributor.role	Director	es_ES
dc.degree.name	Maestría en Estudios Históricos	es_ES
dc.degree.department	Facultad de Filosofía	es_ES
dc.degree.level	Maestría	es_ES