The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950)

Carril Naranjo, Javier Arturo

The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950)

dc.contributor.advisor	DeLong, Kenneth
dc.contributor.author	Carril Naranjo, Javier Arturo
dc.contributor.committeemember	Tepperman, Charles
dc.contributor.committeemember	Welling, Miriam Joelle
dc.date	2019-11
dc.date.accessioned	2019-09-03T17:57:48Z
dc.date.available	2019-09-03T17:57:48Z
dc.date.issued	2019-08-27
dc.description.abstract	Emilio ‘Indio’ Fernández (1904-1986) was a prominent film director of the Golden Age of Mexican Cinema (1936-1956). Central to his work was the representation of the Mexican national identity, which was expressed through the narrative and visual elements of his films. Music was also central in Emilio Fernández’s work, but the soundtracks have only been passingly addressed by the critical literature devoted to Fernández's films. This thesis attempts to address this issue through a discussion of the role of music in three movies that span Fernández’s main nationalistic concerns: the Mexican revolution, the life of the Mexico's indigenous people, and social life in Mexico's urban centers. In chapter one this thesis examines the historical events that led Mexico to become a leading Spanish-language film producer during the period between 1936 and 1956 — known familiarly as the Golden Age of Mexican Cinema. Chapter two is devoted to Emilio Fernández and his ideas of ‘national cinema,’ as well as the director’s relationship with the composers (Francisco Dominguez and Antonio Diaz Conde) that wrote the music for some of the most significant films of his career. Chapter three discusses the music in Flor Silvestre (1943), a film devoted to the cinematic representation of the Mexican revolution. Chapter four is dedicated to the music in María Candelaria (1944) — a film in which Emilio Fernández portrays a stylized image of the Mexican indigenous people. Finally, Chapter five explores the musical life of Mexico City in the 1940s as presented in the movie Salón México (1948). This thesis traces the origin of the musical genres included in the selected movies. This is to evaluate how these genres are representative of the Mexican musical traditions. In addition, this thesis explores the dramatic function of both diegetic (onscreen) and non-diegetic (background) music in relation to the narrative and visual elements of the films.	en_US
dc.identifier.citation	Carril Naranjo, J. A. (2019). The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950) (Master's thesis, University of Calgary, Calgary, Canada). Retrieved from https://prism.ucalgary.ca.	en_US
dc.identifier.doi	http://dx.doi.org/10.11575/PRISM/36920
dc.identifier.uri	http://hdl.handle.net/1880/110842
dc.language.iso	eng	en_US
dc.publisher.faculty	Arts	en_US
dc.publisher.institution	University of Calgary	en
dc.rights	University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission.	en_US
dc.subject	Music in Mexican Films	en_US
dc.subject	Emilio ‘Indio’ Fernández	en_US
dc.subject.classification	Cinema	en_US
dc.subject.classification	Music	en_US
dc.subject.classification	Economics--History	en_US
dc.title	The Representation of Mexican Identity through Music in the Films of Emilio ‘Indio’ Fernández (1940-1950)	en_US
dc.type	master thesis	en_US
thesis.degree.discipline	Music	en_US
thesis.degree.grantor	University of Calgary	en_US
thesis.degree.name	Master of Arts (MA)	en_US
ucalgary.item.requestcopy	false	en_US