Advertisement

Paraíso ¿Cuánto pesa el amor?: Challenging the Neoliberal in Mexican Cinema

  • Niamh Thornton
Chapter

Abstract

Thornton argues that neoliberalism can determine both the reading of a film and the roles key workers play in the production and the consumption of film. She examines the careers and contributions of the director, principle actor, source text author and the music supervisor to the making of the Mexican film, Paraíso ¿Cuánto pesa el amor? (Mariana Chenillo, 2013). The fat body of the protagonist and her attempts to control and, eventually, accept it is a central motivating force in the narrative. Therefore, Thornton considers the ways the film critiques how women’s bodies are subjected to scrutiny and regulation under neoliberalism. The film provides both a fascinating case study at textual level because of its narrative concerns and at a contextual level as an opportunity to explore women’s creative contributions. Consequently, Thornton analyzes how neoliberalism is an inescapable determinant in understanding Paraíso ¿Cuánto pesa el amor? as a nodal point for the intersection of multiple interests.

Works Cited

  1. Arévalo, Julieta. 2013. Paraíso y otro cuentos incómodos. México: Casa Editorial Abismos.Google Scholar
  2. Balfour, Brad. 2010. “Exclusive Q&A: The Jewish-Mexican Experience Via Mariana Chenillo’s Award-Winning Film.” HuffPost, October 15, 2010. http://www.huffingtonpost.com/brad-balfour/exclusive-qa-the-jewish-m_b_764653.html. Accessed October 2, 2017.
  3. Bauman, Zygmunt. 2001. The Individualized Society. Cambridge: Polity Press.Google Scholar
  4. Burns-Ardolino, Wendy A. 2009. “Jiggle in My Walk: The Iconic Power of the ‘Big Butt’ in American Pop Culture.” In The Fat Studies Reader, edited by Esther Rothblum and Sondra Solovay, 271–87. New York and London: New York University Press.Google Scholar
  5. Cinco días sin Nora. 2009. DVD. Mexico: Mariana Chenillo.Google Scholar
  6. Couldry, Nick. 2010. Why Voice Matters: Culture and Politics After Neoliberalism. Los Angeles and London: Sage.Google Scholar
  7. Hecho en México. 2012. DVD. Mexico: Duncan Bridgeman.Google Scholar
  8. La Berge, Leigh Claire, and Quinn Slobodian. 2017. “Reading for Neoliberalism, Reading Like Neoliberals.” American Literary History 29 (3): 602–14.CrossRefGoogle Scholar
  9. Martin, Deborah, and Deborah Shaw. 2017. “Introduction.” In Latin American Women Filmmakers: Production, Politics, Poetics, edited by Deborah Martin and Deborah Shaw, 1–28. London: I.B. Tauris.Google Scholar
  10. Marwick, Alice, and Dana Boyd. 2011. “To See and Be Seen.” Convergence: The International Journal of Research into New Media Technologies 17 (2): 139–58.CrossRefGoogle Scholar
  11. Mendible, Myra, ed. 2007. From Bananas to Buttocks: The Latina Body in Popular Film and Culture. Austin: University of Texas Press.Google Scholar
  12. Molina Guzmán, Isabel, and Angharad N. Valdivia. 2004. “Brain, Brow, and Booty: Latina Iconicity in U.S. Popular Culture.” The Communication Review (April): 205–21.Google Scholar
  13. Obvious Child. 2014. Streaming. USA: Gillian Robespierre.Google Scholar
  14. Page, Joanna. 2009. Crisis and Capitalism in Contemporary Argentina Cinema. Durham and London: Duke University Press.CrossRefGoogle Scholar
  15. Paraíso ¿Cuánto pesa el amor? 2013. DVD. Mexico: Mariana Chenillo.Google Scholar
  16. Raisborough, Jayne. 2016. Fat Bodies, Health and the Media. London: Palgrave Macmillan.CrossRefGoogle Scholar
  17. Rêgo, Cacilda, and Carolina Rocha. 2011. New Trends in Argentine and Brazilian Cinema. Bristol: Intellect.Google Scholar
  18. Rincón, Daniela. 2012–Present. “Home.” YouTube Channel. https://www.youtube.com/user/ladanielarincon/videos. Accessed October 23, 2017.
  19. Rothblum, Esther, and Sondra Solovay, eds. 2009. The Fat Studies Reader. New York and London: New York University Press.Google Scholar
  20. Sánchez Prado, Ignacio. 2014a. Screening Neoliberalism. Mexican Cinema 1988–2012. Nashville: Vanderbilt University Press. Kindle.Google Scholar
  21. ———. 2014b. “Regimes of Affect: Love and Class in Mexican Neoliberal Cinema.” Journal of Popular Romance Studies 4 (1): 1–19.Google Scholar
  22. Sanders, Rachel. 2017. “Self-tracking in the Digital Era: Biopower, Patriarchy, and the New Biometric Body Projects.” Body and Society 23 (1): 36–63.CrossRefGoogle Scholar
  23. Shaw, Deborah. 2013. The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. Manchester and New York: Manchester University Press.Google Scholar
  24. Stam, Robert. 2007. “Introduction: The Theory and Practice of Adaptation.” In Literature and Film: A Guide to the Theory and Practice of Film Adaptation, edited by Robert Stam and Alessandra Raengo, 1–52. Malden and Oxford: Blackwell.Google Scholar
  25. Supporting Characters. 2012. Streaming. USA: Daniel Schechter.Google Scholar
  26. The Incredible Jessica James. 2017. Streaming. USA: James C. Strouse.Google Scholar
  27. Thornton, Niamh. 2017. Unpublished Interview with Lynn Fainchtein, October 10, 2017.Google Scholar
  28. Van Krieken, Robert. 2012. Celebrity Society. Oxon: Routledge.Google Scholar
  29. Vargas, Andrew S. 2015. “Mariana Chenillo on How Female Directors are Expected to Look Pretty.” Remezcla, February 13, 2015. http://remezcla.com/features/film/mariana-chenillo-female-directors-expected-look-pretty/. Accessed October 2, 2017.
  30. Venuti, Lawrence. 2007. “Adaptation, Translation, Critique.” Journal of Visual Culture 6 (1): 25–43.CrossRefGoogle Scholar
  31. William Foster, David. 2002. Mexico City in Contemporary Mexican Cinema. Austin: University of Texas Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Niamh Thornton
    • 1
  1. 1.University of LiverpoolLiverpoolUK

Personalised recommendations