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"This fourth and bilingual edition of Emblematic Elusions casts its eye toward Mexican cinemas queer undercurrent with Archivo Jotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen. Across three seminal film essays: Machos (1990, Enrique Gmez Vadillo), Una Rata en la Oscuridad (1979, Alfredo Salazar), and Bramadero (2007, Julin Hernndez), this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema. From Enrique Gmez Vadillos subversion of the cine de ficheras genre, to Alfredo Salazars sapphic horror, to Julin Hernndezs tender reimagining of gay intimacythese texts unearth the contradictions that have shaped Mexican cinemas negotiation of sexuality, colorism, nationalism, and class. The pages of Emblematic Elusions IV unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film."
“This fourth and bilingual edition of Emblematic Elusions casts its eye toward Mexican cinemas queer undercurrent with Archivo Jotxs, a research archive based in Mexico City that traces 700+ films revealing the presence and erasure of non-heterosexual, non-binary, and trans identities on screen. Across three seminal film essays: Machos (1990, Enrique Gmez Vadillo), Una Rata en la Oscuridad (1979, Alfredo Salazar), and Bramadero (2007, Julin Hernndez), this edition dissects the spectral and the erotic as cinematic languages of both resistance and repression. Iaki Mori fills a critical gap in Mexican film studies, offering a rare and robust history of a neglected cinema. From Enrique Gmez Vadillos subversion of the cine de ficheras genre, to Alfredo Salazars sapphic horror, to Julin Hernndezs tender reimagining of gay intimacythese texts unearth the contradictions that have shaped Mexican cinemas negotiation of sexuality, colorism, nationalism, and class. The pages of Emblematic Elusions IV unfold as a site of cinematic recovery and queer historiography foregrounding lost, censored, and maligned works that expand who has the right to look (and to desire) in Latin American film.”
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