Titlebook: Humor in Latin American Cinema; Juan Poblete,Juana Suárez Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 cinema.Comic.film

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,Luis Sandrini’s Stutter, Early Argentine Film Comedy, and the Representability of Time,er to consider comedy . comedy and not as an inadequate realism or a derivation of melodrama, I engage with a general study of comedy as a broader cultural form with a long-standing history—in tension with, and transformed by, realism. Much like Linda Williams’s revision of melodrama, this project r

帶來墨水

,“Comrades, There Are Moments in Life That Are Truly Momentary”: Cantinflas and the Administration olic space, and of a new . of public space, that is the direct result of post-revolutionary print capitalism, the emergent mass entertainment industries, and the imperfect transition from the military force of the Revolutionary Generals to the police order of the . in 1930s Mexico. The change of tone

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Invasion of the ,! Mocking Social Prejudice in Contemporary Mexican Cinema,rotagonists in contemporary Mexican cinema addresses how humor can be used as a measure of resistance, as a tool of defiance against an entrenched social order, unwilling to change even in global times, and when social mobility—in the upward sense of the term—appears to be the best alternative for c

中世紀

Humorous Affects: Romantic Comedies in Contemporary Mexico,ectatorship resulting from the privatization of exhibition structures; its ability to articulate synergic relationships with other forms of commercial media; and the economic viability of its production in an industry that faces unfair dominant competition from Hollywood (Sánchez Prado, . 62–105)..

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