The Films of Arturo Ripstein: The Sinister Gaze of the World

IntroductionPart I. Slicing the Nationalist Gaze: Arturo Ripstein in the History of Mexican Cinema1. Fifty Years in Film 1: Ripstein's early years and his place in Mexican cinema; Luis Duno-Gottberg and Manuel Gutiérrez Silva2. Arturo Ripstein: The Film Auteur in the Age of Neoliberal Production; Ignacio M. Sánchez Prado3. Anachronism and Dislocation: Tiempo de morir (1965) Between the Nuevo Cine Mexicano and the Global Western; Rielle Navitski4. The Castle of National Purity: Closed Markets and Closed Homes; Christina L. Sisk5. Deconstrucing the Divas: Music in Arturo Ripstein's El lugar sin límites and La reina de la noche; Catherine Leen6. Profundo carmesí: Blood Weddings in Contemporary Mexico; Javier GuerreroPart II. The Sinister Gaze: Melodrama, Pathos, and Abjection7. Fifty Years of Film 2: Ripstein's collaboration with Paz Alicia Garciadiego; Luis Duno-Gottberg and Manuel Gutiérrez Silva8. Lucha Reyes and the Aesthetics of Mexican Abjection; Sergio de La Mora9. La perdición de los hombres (2000): Beyond Melodrama and its Variations; Niamh Thornton10. Mothers, Maidens, and Machos: the Demolition of the Myths of Mexican Melodrama in Principio y fin (1993); Caryn ConnellyPart III. Thinking Through Ripstein's Gaze11. Fifty Years of Film 3: Melodrama in Ripstein and Garciadiego's films; Luis Duno-Gottberg and Manuel Gutiérrez Silva12. Becoming "Arturo Ripstein"? On Collaboration and the "Author Function" in the Transnational Film Adaptation of El lugar sin límites; Catherine Grant13. From La Manuela to La Princesa de Jade: Allegorical Figures of Transparency and Opacity; Claudia Schaefer14. Marranismo, Allegory, and the Unsayable in Arturo Ripstein's El Santo Oficio; Erin Graff Zivin