Hollywood and Catholic Women:Virgins, Whores, Mothers, and Other Images

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Refocus the Films of Budd Boetticher. Stefanie Van De Peer. Off the Map Reel Spirituality Monograph. Jay Scarfone William Stillman. Gene Hackman The Life and Work. Movie Magick The Occult in Film. Films were popular throughout Latin America, affecting popular culture and the image of Mexico throughout the region.

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Mexican women in the cinema industry paved the way for changes in gender relationships by advocating for themselves within a male-dominated society. In the beginning of Mexican cinema, films were produced independently by small production companies. Before the bank was created, production companies would sell plots of land to fund filming.

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The creation of the bank allowed production companies to do away with this practice. By the early-mid s, around four thousand people were employed in the film industry. Their roles were mainly that of a union member and makeup of the unions was mostly men. During this time, there were two women who brought femininity to the industry as screenwriters, producers, and directors.

Both women were searching for a new cinematic identity within a patriarchal, male dominated industry.

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Their films were symbolic constructions which developed through female characters who were social and active subjects instead of playing passive roles so popular in cinema at the time. The first woman, Adela Sequeyro, was an actress, screenwriter, producer, and director. Each of her films brought a feminist point that dominated the narrative.

She is not the rejected lover or prostitute as typical in many Mexican films of the time. She wrote, produced, and starred in La Mujer de Nadie, playing a woman who again went against the typical Mexican female stereotype. She used her femininity and powers as a woman to manipulate the men within the film, but not in a malicious or salacious manner.

When it came time to screen the film, Sequeyro was charged double the price to rent out the theater and her film was not received well as it did not conform to the generic nationalist models of the time. Her final film, Diablillos de Arrabal, was made using less resources than her previous film, due to lack of funding as La Mujer de Nadie did not perform well in the theaters. Diablillos did not become a box office success, which in turn left her with no option other than to sell the rights to her film.

This enabled her to pay her crew; however, she was left bankrupt. Her scripts feminized stories while maintaining the popular conventions of Mexican cinema and the women she created were real, strong, and very authentic Mexican women.

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Hollywood and Catholic Women: Virgins, Whores, Mothers, and Other Images [ Kathryn Schleich] on payproporimim.cf *FREE* shipping on qualifying offers. Editorial Reviews. Review. As someone who had a very strict Catholic upbringing and attended Hollywood and Catholic Women: Virgins, Whores, Mothers, and Other Images - Kindle edition by Kathryn Schleich. Download it Hollywood and Catholic Women: Virgins, Whores, Mothers, and Other Images Kindle Edition. by .

These representations broke the rules in more than once sense: the female figures replace the traditional male heroes while also representing and vocalizing the social reality and subjectivity of the female experience. Landeta learned her trade by going up through the ranks of the union: first working on scripts, then as an assistant director, before finally obtaining director status.


Many members of the STPC, especially women, remained in the same grade because in the s, the grade above determined promotion and these positions were almost exclusively held by men. She had to ask for permission to advance to the grade of assistant director which met with resistance by those above her. She worked for thirteen years within the STPC as an assistant director before asking for promotion to a director position. The assistant directors within the union argued against the promotion as they felt that a woman simply could not perform the job of a director.

Landeta had to bring her case to the union general assembly, where her promotion was granted. She had so much trouble finding financing, that she placed her own home as collateral on the loan.