From Allá en el Rancho Grande to Lola la trailera: social mobility
The text deals with both horizontal and vertical social mobility in the Mexican films Allá en el Rancho Grande (1936, Fernando de Fuentes), Por la puerta falsa (1950, Fernando de Fuentes), Nosotras las taquígrafas (1950, Emilio Gómez Muriel), El río y la muerte (1954, Luis Buñuel), three films by Em...
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2016 |
| Country: | México |
| Institution: | EL COLEGIO DE MÉXICO |
| Repository: | Historia Mexicana |
| Language: | Spanish |
| OAI Identifier: | oai:oai.historiamexicana.colmex.mx:article/3206 |
| Online Access: | https://historiamexicana.colmex.mx/index.php/RHM/article/view/3206 |
| Access Level: | Open access |
| Keyword: | Mexico upward mobility economy mexican cinema 20th Century México ascenso social economía cine mexicano siglo XX |
| Summary: | The text deals with both horizontal and vertical social mobility in the Mexican films Allá en el Rancho Grande (1936, Fernando de Fuentes), Por la puerta falsa (1950, Fernando de Fuentes), Nosotras las taquígrafas (1950, Emilio Gómez Muriel), El río y la muerte (1954, Luis Buñuel), three films by Emilio Fernández: Victimas del pecado (1950), Salón México (1948) and Las abandonadas (1944), two films by Ismael Rodríguez: La Cucaracha (1958) and Del rancho a la televisión (1952) and Lola la trailera (1984, Raúl Fernández), which speaks to the country’s transition from an agricultural to an industrial economy. |
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