Hollywood star, María Dolores Asúnsolo López-Negrete, best known as Dolores del Río, was admired for her beauty and cross-over appeal during her career (1930–1960s). Since her first role in Joanna (1925), the construction and marketing of del Río as a cinematic star has captured the spectator’s social imagination and presents images of Latinas that are beautiful, “exotic,” accessible, translatable, and consumable. Body and language play vital roles in constructing the image spectators have grown to expect from del Río. Her filmic identity negotiates the “wilderness of theory or difference” Elaine Showalter discusses in “Feminist Criticism in the Wilderness,” and which film theorist Linda Williams examines as the “wild zone” in “A Jury of Th...
There are three film versions of Vicente Blasco Ibáñez's taurine novel Sangre y arena (1908). All ar...
Aquest Treball de Fi de Grau ha tingut com a principal objectiu analitzar la representació dels pers...
This essay discusses the ways in which performative and interpretative dialectics function within th...
Hollywood star, María Dolores Asúnsolo López-Negrete, best known as Dolores del Río, was admired for...
This article focuses on Dolores del Río and Lupe Vélez, contextualing their film careers in relation...
From Dolores del Río to Salma Hayek and from Lupe Vélez to Eva Longoria, the portrayal of Latinas in...
This thesis analyzes the transnational careers of Mexican actresses Lupe Vélez and Dolores del Río f...
During the industrialization of Argentine cinema, representations of female offenders operated as op...
Dolores Del Rio, Los Angeles, 1990, 6529 Hollywood Boulevard (at Hudson Avenue), Hollywood. A portra...
El éxito sin precedentes de El último cuplé en 1957 confirmó a Sara Montiel como el primer gran...
As the field of Chicana/o Studies approaches its 50th anniversary, this chapter maps the trajectory ...
A partir del análisis de las películas Altar mayor (Gonzalo Delgrás, 1944), El clavo (Rafael Gil, 19...
The 1948 release of Río Escondido was a triumph of the Mexican film industry. It represented the pos...
UnrestrictedDomestic Negotiations: Chicana Domesticity as a Critical Discourse of US Literature and ...
Emilio Fernandez was one of the most important directors in the history of Mexican cinema in the 194...
There are three film versions of Vicente Blasco Ibáñez's taurine novel Sangre y arena (1908). All ar...
Aquest Treball de Fi de Grau ha tingut com a principal objectiu analitzar la representació dels pers...
This essay discusses the ways in which performative and interpretative dialectics function within th...
Hollywood star, María Dolores Asúnsolo López-Negrete, best known as Dolores del Río, was admired for...
This article focuses on Dolores del Río and Lupe Vélez, contextualing their film careers in relation...
From Dolores del Río to Salma Hayek and from Lupe Vélez to Eva Longoria, the portrayal of Latinas in...
This thesis analyzes the transnational careers of Mexican actresses Lupe Vélez and Dolores del Río f...
During the industrialization of Argentine cinema, representations of female offenders operated as op...
Dolores Del Rio, Los Angeles, 1990, 6529 Hollywood Boulevard (at Hudson Avenue), Hollywood. A portra...
El éxito sin precedentes de El último cuplé en 1957 confirmó a Sara Montiel como el primer gran...
As the field of Chicana/o Studies approaches its 50th anniversary, this chapter maps the trajectory ...
A partir del análisis de las películas Altar mayor (Gonzalo Delgrás, 1944), El clavo (Rafael Gil, 19...
The 1948 release of Río Escondido was a triumph of the Mexican film industry. It represented the pos...
UnrestrictedDomestic Negotiations: Chicana Domesticity as a Critical Discourse of US Literature and ...
Emilio Fernandez was one of the most important directors in the history of Mexican cinema in the 194...
There are three film versions of Vicente Blasco Ibáñez's taurine novel Sangre y arena (1908). All ar...
Aquest Treball de Fi de Grau ha tingut com a principal objectiu analitzar la representació dels pers...
This essay discusses the ways in which performative and interpretative dialectics function within th...