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Celluloid Nationalism and Other Melodramas looks at representation and rebellion in times of national uncertainty. Moving from mid-century Mexican cinema to recent films staged in Los Angeles and Mexico City, Susan Dever analyzes melodrama's double function as a genre and as a sensibility, revealing coincidences between movie morals and political pieties in the civic-minded films of Emilio Fernández, Matilde Landeta, Allison Anders, and Marcela Fernández Violante. These filmmakers' rationally and emotionally engaged cinema—offering representations of indigenous peoples and poor urban women who alternately endorsed "civilizing" projects and voiced resistance to such totalization—both interrupts and sustains fictions of national coherence in an increasingly transnational world.

Mexican Americans in motion pictures. --- Melodrama in motion pictures. --- Motion pictures --- History.

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In the early decades of the twentieth-century, Main Street was the heart of Los Angeles's Mexican immigrant community. It was also the hub for an extensive, largely forgotten film culture that thrived in L.A. during the early days of Hollywood. Drawing from rare archives, including the city's Spanish-language newspapers, Colin Gunckel vividly demonstrates how this immigrant community pioneered a practice of transnational media convergence, consuming films from Hollywood and Mexico, while also producing fan publications, fiction, criticism, music, and live theatrical events. Mexico on Main Street locates this film culture at the center of a series of key debates concerning national identity, ethnicity, class, and the role of Mexicans within Hollywood before World War II. As Gunckel shows, the immigrant community's cultural elite tried to rally the working-class population toward the cause of Mexican nationalism, while Hollywood sought to position them as part of a lucrative transnational Latin American market. Yet ironically, both Hollywood studios and Mexican American cultural elites used the media to present negative depictions of working-class Mexicans, portraying their behaviors as a threat to middle-class respectability. Rather than simply depicting working-class immigrants as pawns of these power players, however, Gunckel reveals their active participation in the era's film culture. Gunckel's innovative approach combines media studies, urban history, and ethnic studies to reconstruct a distinctive, richly layered immigrant film culture. Mexico on Main Street demonstrates how a site-specific study of cultural and ethnic issues challenges our existing conceptions of U.S. film history, Mexican cinema, and the history of Los Angeles.

Motion pictures --- Motion picture industry --- Mexican Americans in motion pictures. --- Social aspects --- History

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Chicano's in de filmindustrie --- Chicano's op televisie --- Chicanos dans l'industrie cinématographique --- Chicanos dans le cinéma --- Chicanos en télévision --- Chicanos in de film --- Mexican Americans in motion pictures --- Mexican Americans in the motion picture industry --- Mexican Americans on television --- Mexican Americans in motion pictures. --- Mexican Americans in the motion picture industry. --- Mexican Americans on television.

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American fiction --- -Mexican Americans in literature --- Mexican Americans in motion pictures --- Mexican Americans in popular culture --- Motion pictures --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- History and criticism --- History --- Mexican Americans in literature. --- Mexican Americans in motion pictures. --- Mexican Americans in popular culture. --- Roman américain --- Cinéma --- Américains d'origine mexicaine au cinéma --- History and criticism. --- History. --- Histoire et critique --- Histoire --- Mexican Americans in literature --- Popular culture