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Bedrooms of Mexican Noir
(Screen captures from: Crepúsculo, La devoradora, La otra, La venenosa, Aventurera, Doña Diabla, El hombre sin rostro, En la palma de tu mano, La noche es nuestra, Paco el elegante, Nadie muere dos veces, La noche avanza, El último round & La desconocida)
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Arturo de Córdova, Noir Icon
(Screen Captures from: Crepúsculo, La diosa arrodillada, Yo no elegí mi vida, Leonora de los siete mares, Pasaporte a Río, En la palma de tu mano, Un extraño en la escalera, La ausente, Paraíso robado, Cuando levanta la niebla, El hombre sin rostro, Algo flota sobre el agua, Amor en cuatro tiempos, Él & Los peces rojos)
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Woman in Peril: Él (This Strange Passion, 1953)
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Mädchen in Uniform (Leontine Sagan, 1931) & Muchachas de uniforme comparison (Alfredo B. Crevenna, 1951), part three:
Manuela (Hertha Thiele/Irasema Dilian) “comes out” in the dormitory & says goodbye to her teacher (Dorothea Wieck/Marga López)
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Mädchen in Uniform (Leontine Sagan, 1931) & Muchachas de uniforme (Alfredo B. Crevenna, 1951) comparison, part two:
Manuela (Irasema Dilian/Hertha Thiele) kisses her beloved teacher’s hand & takes the stage
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Mädchen in Uniform (Leontine Sagan, 1931) & Muchachas de uniforme (Alfredo B. Crevenna, 1951) comparison, part one:
Fräulein von Bernburg/Señorita Lucila (Dorothea Wieck/Marga López) meets Manuela (Hertha Thiele/Irasema Dilian) & the goodnight kiss.
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Ads, credits and stills of La huella de unos labios (The Trace of Some Lips, Juan Bustillo Oro, 1952), Mexican film noir based on the 1939 Cornell Woolrich story “Collared.” La estrella del melodrama como heroína noir: La huella de unos labios (1952), an article about the adaptation, is available at Balajú journal.
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Bottling La Doña
(captures from Una mujer cualquiera [Any Woman, Rafael Gil, 1950], La noche del sábado [Saturday Night, Gil, 1950], La corona negra [The Black Crown, Luis Saslavsky, 1951], Hechizo trágico [Tragic Spell, Mario Sequi, 1951] & Messalina [Carmine Gallone, 1951], over photo of Bonafont water bottle ad)
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Outing Queer Archives in Mexico City: The “Jotographies” of Agustín Martínez Castro: “a broad ranging account of a recent exhibition of the photographic work of [the] Mexican queer artist and activist,” article available at Mediático. Images by Agustín Martínez Castro.
#mexicanart#mexicanphotographer#queerart#lgbtq#gaypride#titovasconcelos#catalinacreel#aidsmemorial#queer#photography#lgbtq history#lgbtq activism#agustínmartínezcastro#mexico
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Latins Dream Their Senses
(screen captures from Summer and Smoke [Peter Glenville, 1961] & erasures from the 1948 Tennesee Williams play)
#ritamoreno#tennessewilliams#blackoutpoem#erasure#repurposed#latina#boricua#puertorico#mexican#latinoimage#racial stereotypes
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Close-ups: María Félix in La corona negra (The Black Crown, Luis Saslavsky, 1951)
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Performing Blackness in Mexican Cinema: Eusebia Cosme, Rita Montaner and Juan José Laboriel, article available at Mediático.
Screen captures: J.J. Laboriel in La vida íntima de Marco Antonio y Cleopatra (The Private Lives of Mark Anthony and Cleopatra, Roberto Gavaldón, 1947), Pueblo, canto y esperanza (People, Song and Hope, Julián Soler, Alfredo B. Crevenna & Rogelio A. González, 1956) & Alma llanera (Soul of the Plains, Gilberto Martínez Solares, 1965); R. Montaner in Angelitos negros (Little Black Angels, Joselito Rodriguez, 1948) & Ritmos del Caribe (Caribbean Rhythms, Juan José Ortega, 1950); and E. Cosme in Vuelo 701 (Flight 701, Raúl de Anda Jr., 1971)
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Close-ups: José Mojica (1896-1974)
La cruz y la espada (Frank R. Strayer, 1934), El capitán aventurero (Arcady Boytler, 1939) & Melodías de América (Eduardo Morera, 1941)
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Consuelo Guerrero de Luna & Raquel Rojas (Janet Alcoriza) in Cuando viajan las estrellas (When Stars Travel, Tito Gout, 1942)
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Close-ups: Katy Jurado in El bruto (The Brute, Luis Buñuel, 1953)
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Race Melodrama: Rosas blancas para mi hermana negra (White Roses for My Black Sister, Abel Salazar, 1970)
#Mexican Cinema#Libertad Lamarque#Eusebia Cosme#Irma Lozano#Robertha#Miscegenation#Black Images#repurposed#afrolatina#afrocuban#afroperuvian#starstudies
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Close-ups: Sonia Braga in Eu te amo (I Love You, Arnaldo Jabor, 1981)
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