By Gustavo Subero
Gender and Sexuality in Latin American Horror Cinema explores the several mechanisms and methods by which horror movies try to strengthen or contest gender kin and problems with sexual identification within the continent. The booklet explores problems with machismo, marianismo, homosociality, bromance, between others during the lens of horror narratives and, specially, it bargains an research of monstrosity and the determine of the monster as an outlet to play out socio-sexual anxieties in several societies or gender teams. the writer appears to be like at a large rage of movies from nations similar to Cuba, Peru, Mexico and Argentina and attracts issues of commonality, in addition to evaluating crucial ameliorations, among the best way that horror fictions – thought of by way of many as low-brow cinema - will be potent to delve into the best way that sexuality and gender operates and circulates within the renowned imaginary in those regions.
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Extra resources for Gender and Sexuality in Latin American Horror Cinema: Embodiments of Evil
The same year would also see the release of Fernando de Fuentes’s El Fantasma del Convento (1934) and, in 1935, another Bustillo Oro feature called El Misterio del Rostro Pálido. As already suggested, although some of these films date as far back as the early 1930s, it is undeniable that the most prolific decades in the production of gothic horror films in Mexico were the 1950s and 1960s. By this point, a proper horror industry had really emerged in the country and production companies such as Tele Talia Films, Producciones Bueno, Producciones Delta and Diana Films all dedicated a great part of their production to making horror movies.
The contrast between La Llorona/Carmen and Margarita 12 G. SUBERO makes a distinct form of femininity that reaffirms the Mexicanness of the film, since it comes to represent a marked contrast between the devotion to La Virgen de Guadalupe (the mother of all Mexicans and direct emblem of the notion of Marianismo) and the love–hate relationship with La Malinche (the cultural and historical whore). Interestingly, the film evidences a tension with the notion of motherhood in which Carmen is unable to kill Jorgito with her bare hands and, instead, must set up the type of situation that would make the boy meet his own death.
In this film the deformed character does not possess evil characteristics, but it is her transformation into a beautiful woman that procures evilness in her. What this film does is to disavow the seemingly intrinsic relation between ugliness and evilness characteristic of many gothic stories, as well as fairy-tale and folk narratives, 20 G. 8 La Bruja is the Other whose personal figuration does not become part of the project of the Mexican nation. In fact, within the film she is not an isolated case of otherness, she is part of a network of otherness that operates as an underground and subaltern society.