The Powerful, the Poor, and the Politics of Representation in Luis Estrada's Un mundo maravilloso (2006).
This article examines the transformation of the film Un mundo maravilloso's poor protagonist from a bumbling picaro to a rebel capable of inverting center and periphery. I explain the director's use of metafictionality, selfreferentiality, and intertextuality that compels spectators to become active...
| Publicado en: | Studies in Latin American Popular Culture Vol. 32; pp. 31 - 51 |
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| Formato: | Film/TV Criticism and Review |
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University of Texas Press
2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=96431294&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 96431294 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07309139 LPC jtl: Studies in Latin American Popular Culture issn: 07309139 maglogo: N pubinfo: dt: 2014 vid: 32 pid: 519 pub: University of Texas Press artinfo: ui: 96431294 10.7560/SLAPC3203 ppf: 31 ppct: 20 formats: fmt: @attributes: type: P size: 12.6MB tig: atl: The Powerful, the Poor, and the Politics of Representation in Luis Estrada's Un mundo maravilloso (2006). aug: au: Robinson, Amy affil: Bowling Green State University su: Un mundo maravilloso (Film) Estrada, Luis Poverty in motion pictures Social classes in motion pictures Poor people Elite (Social sciences) Political leadership Mexican films Mexico sug: subj: Mexico Un mundo maravilloso (Film) Estrada, Luis Poverty in motion pictures Social classes in motion pictures Poor people Elite (Social sciences) Political leadership Mexican films ab: This article examines the transformation of the film Un mundo maravilloso's poor protagonist from a bumbling picaro to a rebel capable of inverting center and periphery. I explain the director's use of metafictionality, selfreferentiality, and intertextuality that compels spectators to become active participants in the film's critique of the dominant metanarratives about the poor in Mexico. My aim is to reveal the way the film prods spectators to reflect on how understandings of the poor are mediated through representations that distort and dismiss reality. Spectators are compelled to see through the elites' misleading rhetoric and false images, and they instead discern the mechanisms in place that obscure the realities of poverty, mask the failures of political leadership, and encourage the complicity of everyday Mexicans in the dismissal of the poor from the national landscape. Through the poor characters' transgressions, the audience is left to consider how, despite the seemingly overwhelming power of the elite to fabricate the dominant scripts about the poor, the power to tell one's own story can be reclaimed through the spectacles of an active rebel seeking redress or of an untetbered madman with utter disregard for societal constraints. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in Latin American Popular Culture is the property of University of Texas Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in Latin American Popular Culture holder: University of Texas Press dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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