Mexican Cinema/Mexican Woman, 1940-1950

Abstract Objective The following case will demonstrate a systematic approach to neuropsychological evaluation with Spanish-speaking individuals, which includes creating a suitable test battery, interpreting results with appropriate normative samples, and incorporating personal history. Case Description 61-year-old, right-handed, Mexican female with 2 years of formal education, and with a recent history of subarachnoid hemorrhage with hydrocephalus. She was referred by her social worker and primary care provider to discern whether the reported cognitive complaints were due to a neurocognitive condition or depression. Diagnostic Impressions and Outcomes The evaluation was administered entirely in Spanish and some exams were modified to accommodate her limited literacy skills. She exhibited deficits in executive functioning, verbal fluency, and memory. Emotional testing revealed moderate depression with anxious distress, which she attributed to significant changes in everyday life. Her family informed us that she was the “matriarch of the family” and worked as a farm field truck driver, with significant difficulties/lack of engagement in both of these roles. Therefore, diagnoses of probable major vascular neurocognitive disorder and major depressive disorder with anxious distress were assigned. With this information, her providers were able to connect the family with community resources. Discussion The Hispanic population continues to be the fastest growing demographic in the United States. As more clinicians will work with members of this ethnicity in outpatient settings, it is important that they incorporate culturally-relevant factors in their approach to testing and interpretation of results. Nonetheless, this case demonstrates the current challenges and limitations, including modification of exams, differences in educational system that underlie test construction, and patient’s history. Recommendations for future areas of study and practice will also be discussed.

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El Estado De Hidalgo En Blanco Y Negro. Hidalgo En El Cine De Los Orígenes A Los Años 60

Xihmai ◽

10.37646/xihmai.v12i24.288 ◽

2018 ◽

Vol 12 (24) ◽

Author(s):

Manuel Jesús González Manrique [1]

Keyword(s):

Social Dynamics ◽

The State ◽

Black And White ◽

Mexican Cinema ◽

The Relationship

ResumenSi se parte de los recientes estudios que relacionan la disciplina geográfica y el cine, este trabajo hace una revisión de los espacios del estado de Hidalgo utilizados como escenario en el Séptimo Arte durante el período del cine en blanco y negro. De esta forma, al relacionar el territorio con la dinámica social, y si se ubica en las relaciones entre realidad y representación, haremos un repaso cronológico a las películas que han preservado la geografía hidalguense.Palabras clave: geografía y cine, estado de Hidalgo, Eisenstein, Cine Mexicano Abstract On the basis of recent studies that relate the geographical and the cinema, This work makes a review of the State of Hidalgo spaces used as a backdrop in the seventh art in the period of the film in black and White. In this way, and relating territory with social dynamics and positioning ourselves in the relationship between reality and representation will do a chronological review films that have preserved the Hidalgo geography.Keywords: Geography and cinema, State of Hidalgo, Eisenstein, Mexican cinema [1] Doctor en Historia del Arte, Universidad de Granada. Profesor/Investigador del Área de Historia y Antropología del Instituto de Ciencias Sociales de la Universidad Autónoma del Estado de Hidalgo. SNI 1

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Cartographies of Mexican Cinema in the 21st Century

Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual ◽

10.22475/rebeca.v4n1.337 ◽

2016 ◽

Vol 4 (1) ◽

pp. 17

Author(s):

Ana M López

Keyword(s):

21St Century ◽

Mexican Cinema

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The Role of Lucha Libre in the Construction of Mexican Male Identity

Networking Knowledge: Journal of the MeCCSA Postgraduate Network ◽

10.31165/nk.2011.41.68 ◽

2011 ◽

Vol 4 (1) ◽

Author(s):

Javier Pereda ◽

Patricia Murrieta-Flores

Keyword(s):

Social Interaction ◽

Historical Analysis ◽

Popular Imagination ◽

Fast Growing ◽

Mexican Cinema ◽

Mexican Culture ◽

Moral Standards ◽

Ordinary Person ◽

Lucha Libre

Lucha Libre has played an important role in Mexican culture since the late 1950s. The sport became famous mainly due to its masked wrestlers, who incorporated their own family traditions, beliefs and fears into the design of their masks, transforming an ordinary person into a fearless character. After the introduction of the Monsters Cinema in the 1930s, Mexican audiences welcomed and adopted characters like Dracula, Nosferatu, Frankenstein and The Werewolf. The success of Monster Cinema in Mexican culture was based on the integration of national legends and beliefs, placing them in local and identifiable concepts in the Mexican popular imagination. Later, Lucha Libre Cinema mixed with Monster Cinema resulting in the birth of new heroes and myths. These emergent paladins of the Mexican metropolis set the cultural and moral standards of that time and how Mexicans wanted to be perceived. Through an anthropological and historical analysis of Mexican Cinema and Lucha Libre, this paper investigates the main social interaction of male wrestlers who perform as heroes inside the celluloid world and outside of it. We explore how masculinity and the male figure evolves in Lucha Libre Cinema, and the processes that wrestlers have to undergo in order to be able to portray themselves as superheroes of an evolving and fast growing Mexico.

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Hegemony and mediations in melodrama of the Golden Age of Mexican cinema

10.26686/wgtn.17013113.v1 ◽

2021 ◽

Author(s):

◽

Dave Evans

Keyword(s):

Twentieth Century ◽

Golden Age ◽

Lower Class ◽

Best Interest ◽

Contentious Issue ◽

Mexican Cinema ◽

The Family ◽

Dominant Ideologies ◽

The Masses ◽

Revolutionary Period

<p>The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. His films show a masculinity in transition and how lower-class men could cope with this change. Likewise, the depiction of women in Golden Age film overall supports the stabilising goals of the 1940s Revolutionary government, while also providing some transgressive figures. Therefore, these films helped the Mexican audience process the sudden modernization of the post-Revolutionary period, which was in the state’s best interest; however, the masses were also able to reconfigure the messages of these films and find their own sense of meaning in them.</p>

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Mexican Cinema/Mexican Woman, 1940-1950