In Mexican Modernity, Ruben Gallo tells the story of a second Mexican Revolution, a battle fought on the front of cultural representation. The new revolutionaries were not rebels or outlaws but artists and writers; their weapons were cameras, typewriters, radios, and other technological artifacts, and their goal was not to topple a dictator but to dethrone nineteenth-century aesthetics. Gallo tells the story of this other revolution by focusing on five artifacts that left a deep mark on the literature and the arts of the 1920s and 1930s: the camera and its novel techniques for seeing the modern world; the typewriter and its mechanization of literary aesthetics; radio and poetic experiments with wireless communication; cement architecture and its celebration of functional internationalism; and the stadium and its deployment as a mass medium for political spectacle. Gallo traces the ways artists and writers, armed with these artifacts, revolutionized representation by breaking with the traditional modes of production that had dominated Mexican cultural practices: Tina Modotti rose against the conventions of "artistic" photography by promoting a radically modern photographic aesthetics; typewriting authors rejected the literary precepts of modernismo to celebrate the stridencies of mechanical writing; and young architects abandoned older building materials for the symbolic strength of reinforced concrete. Gallo uncovers a secret history of Mexican modernity that includes a number of fascinating episodes: the pictorialist backlash against Modotti and Edward Weston; the postcolonial Remingtont typewriter; Mexican radio in the North Po the campaign to aestheticize cement through journals and artistic competitions; and the protofascist political spectacles held at Mexico City's National Stadium in the 1920s.

Why was Cantinflas, actor Mario Moreno's film persona, the most popular movie star in Mexican history? Was it because every Mexican - rich or poor, Creole or Indian, man or woman, young or old - could identify with him?

This book discusses the work of José Vasconcelos, Diego Rivera, José Clemente Orozco, Emilio "El Indio" Fernández, El Santo, and Carlos Olvera. These artists--and many others--held diametrically opposed worldviews and used very different media while producing works during different decades. Nevertheless, each of these artists posited the fusion of the body with technology as key to forming an "authentic," Mexican identity.

The photographers discussed in this book probe the most contentious aspects of social organization in Mexico, questioning what it means to belong, to be Mexican, to experience modernity, and to create art as a culturally, politically, or racially marginalized person. By choosing human subjects, spaces, and aesthetics excluded from the Lettered City, each of the photographers discussed in this volume produces a corpus of art that contests dominant narratives of social and cultural modernization in Mexico. Taken together, their work represents diverging and diverse notions of what is meant by Mexican modernity. The book will be of interest to scholars working in art history, history of photography, women’s studies, and Mexican studies.

This book looks at representations of the male body, sexuality and power in the arts in Mexico. It analyses literature, visual art and cinema produced from the 1870s to the present, focusing on the Porfirian regime, the Post-revolutionary era, the decadence of the revolutionary state and the emergence of the neo-liberal order in the 1980s.

Since the mid 1970s, there has been an extraordinary renewal of interest in early modern architecture, both as a way of gaining insight into contemporary architectural culture and as a reaction to neoconservative postmodernism. This book undertakes a critical reappraisal of the notion of modernity in Mexican architecture and its influence on a generation of Mexican architects whose works spanned the 1920s through the 1960s. Nine essays by noted architects and architectural historians cover a range of topics from broad-based critical commentaries to discussions of individual architects and buildings. Among the latter are the architects Enrique del Moral, Juan O'Gorman, Carlos Obregón Santacilia, Juan Segura, Mario Pani, and the campus and stadium of the Ciudad Universitaria in Mexico City. Relatively little has been published in English regarding this era in Mexican architecture. Thus, Modernity and the Architecture of Mexico will play a groundbreaking role in making the underlying assumptions, ideological and political constructs, and specific architect's agendas known to a wide audience in the humanities. Likewise, it should inspire greater appreciation for this undervalued body of works as an important contribution to the modern movement.

This title examines Mexican politics in the wake of Cardenismo, and the dawn of Miguel Aleman's presidency. This new book focuses on the decade of the 1940s, and analyzes Alcmanismo into the early years of the 1950s. Based upon a decade of intensive investigation, it is the first broad and substantial study of the political life of the Mexican nation during this period, thus opening a new era to historical investigation. Analytical yet lively, mixing political and cultural history, Mexico in the 1940s captures the humor, passion, and significance of Mexico during the World War II and post-war years when Mexicans entered the era called "the miracle" because of the nation's economic growth and political stability. Niblo develops the case that the Mexico of today -- politically and executively centralized, stressing business and industry, corrupt, ignoring the needs of the majority of the population -- has its roots in the decade and a half after 1940. Finally, Mexico in the 1940s offers a unique interpretation of Mexican domestic politics in this period, including an explanation of how political leaders were able to reverse the course of the Mexican Revolution in the 1940s; an original interpretation of corruption in Mexican political life, a phenomenon that did not end in the 1940s; and an analysis of the relationship between the U.S. media interests, the Mexican state and the Mexican media companies that still dominate mass communication today.