By Anne T. Doremus
From 1929 to 1952 Mexico underwent a interval of severe nationalism because the kingdom, newly rising from the Mexican Revolution, sought to legitimize itself, consolidate its associations, and advertise fiscal progress. subsequently, those years additionally witnessed a fervent look for nationwide self-awareness within the cultural sphere. This paintings contrasts buildings of nationwide identification in one of the most well known literary works of the interval with these in probably the most renowned motion pictures, revealing their special capabilities in the nationalist venture. It demonstrates that during spite in their awesome dissimilarities, articulations of a Mexican realization in those mediums have been complementary in the framework of nationalism, as they happy and formed the pursuits and wishes of designated sectors of Mexican society.
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Additional resources for Culture, Politics, and National Identity in Mexican Literature and Film, 1929-1952
Such a depiction had predominated in novels of this type since Mariano Azuela' s Los de abajo (1915), widely considered a founding work. One exception to this articulation was Nellie Campobellos's Cartucho, which portrayed the Revolution and the revolutionary fighter in a much more positive light. However, this work was not widely read during the period. Guzman's and Mufioz' s novels appeased many intellectuals and wealthier Mexicans, who were unable to relate to the violence and chaos of the Revolution, and who feared the masses' increased access to power following the war.
He subsequently fell into obscurity. As I will attempt to make clear in this work, an analysis of constructions of "Mexicanness" as they appear in many novels and essays from 1929-1952 reveals the large extent to which the majority of intellectuals aligned themselves with the state. Since the period of independence, the Latin American intellectual has fulfilled an important function for the state. Casting himself as the "maestro," or voice of authority, he has expounded on the most serious national problems, principally through the novel and the essay.
They were particularly concerned 26 with the United States, whose looming presence and expanding power were viewed as threats to Mexico's cultural independence. To these three intellectuals, gaining self-awareness required that Mexicans become more aware of their own internal conditions. In their opinion, this entailed a rejection of imported models, which they maintained had alienated the Mexican from his "true" self and, in Reyes' view (presaging Samuel Ramos), caused an inferiority complex. However, they did not exalt Mexicans' indigenous inheritance as the most "authentic", but rather viewed the national character as a product of both internal and external factors.