Politicas de la desposesion: masculinidad y neoliberalismo en el cine mexicano contemporaneo

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dc.contributor.advisorSisk, Christina L.
dc.contributor.committeeMemberde la Mora, Sergio
dc.contributor.committeeMemberDe Los Reyes, Guillermo
dc.contributor.committeeMemberSoliño, María Elena
dc.contributor.committeeMemberRivera Garza, Cristina
dc.creatorLuevano Ortega, Sabino
dc.creator.orcid0000-0003-4631-4278
dc.date.accessioned2019-09-15T22:08:58Z
dc.date.available2019-09-15T22:08:58Z
dc.date.createdAugust 2019
dc.date.issued2019-08
dc.date.submittedAugust 2019
dc.date.updated2019-09-15T22:08:58Z
dc.description.abstractIn Políticas de la desposesión: masculinidad y neoliberalismo en el cine mexicano contemporáneo, I study the representation of masculinity in contemporary Mexican cinema in the context of neoliberalism. The main films that I analyze are El Infierno (2010), by Luis Estrada, Post Tenebras Lux (2012), by Carlos Reygadas and Desierto (2016), by Jonás Cuarón. The chosen pieces are an example of the cinematic variety that is filmed today in Mexico. In all of them I see a recurring trope: the figure of a young or mature man who faces a deep process of loss and dispossession, whether material or spiritual. My general thesis is that the narratives of male dispossession show the passage from a solid masculinity to a liquid masculinity. I propose that in the 1930s emerged a type of masculine configuration that I call solid, characterized by a promise of property, legal certainties, and a close relationship with the Mexican State. Gradually, this masculine configuration becomes liquid at the end of the 80s with the imposition of neoliberalism. By liquidity I understand a masculinity regime that is constructed as vulnerable, in an economic context that privileges the elites and national and international capitalism at the expense of the majority. Through the liquid male character, each film that I analyze proposes the dismantling of certain official discourses about him. I argue that El Infierno challenges the social construction of the narco as essentially evil, alien to society, and its political structures. This discourse was created by the neoliberal State in 2006 to justify a war that seems to work as social cleansing, since they have not touched the elites that make drug trafficking possible. Regarding Post Tenebras Lux, I maintain that the film challenges the idea of the Mexican white criollo as the civilizing element of the Nation, since it constructs this group as violent and barbaric as the main mestizo character, an operation that is not very common in Mexican cinema, where the criminal is usually represented solely as mestizo or indigenous. Finally, in Desierto I explore discourses from the US extreme right wing about the "illegal" Mexican immigrant. I argue that this film problematizes the idea, based on Anglo-Saxon male anxieties, of the Mexican immigrant as a criminal, and instead, addresses the problem of violence as internal to the US nation and not as a foreign threat.
dc.description.departmentHispanic Studies, Department of
dc.format.digitalOriginborn digital
dc.format.mimetypeapplication/pdf
dc.identifier.urihttps://hdl.handle.net/10657/4707
dc.language.isospa
dc.rightsThe author of this work is the copyright owner. UH Libraries and the Texas Digital Library have their permission to store and provide access to this work. Further transmission, reproduction, or presentation of this work is prohibited except with permission of the author(s).
dc.subjectMasculinity
dc.subjectNeoliberalism
dc.subjectDispossession
dc.subjectLiquid masculinity
dc.subjectSolid masculinity
dc.subjectPrecarious life
dc.titlePoliticas de la desposesion: masculinidad y neoliberalismo en el cine mexicano contemporaneo
dc.type.dcmiText
dc.type.genreThesis
thesis.degree.collegeCollege of Liberal Arts and Social Sciences
thesis.degree.departmentHispanic Studies, Department of
thesis.degree.disciplineSpanish
thesis.degree.grantorUniversity of Houston
thesis.degree.levelDoctoral
thesis.degree.nameDoctor of Philosophy

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