Por lo menos,es con esta finalidad que se ofrecen las siguientes reflexiones. Y tal vez lo sean. Hirshleifer, No es posible imaginar queestas actividades puedan realizarse sin tener al menos la amenaza dela violencia. Tal vez. Se equivocan en dos sentidos relacionados pero distintos. Resultados preliminares. No citar85Perspectivas. En el caso colombiano,se nota una predominancia de violencia dirigida, o targetedviolence, es decir, actos como asesinatos, secuestros, y masacrescontra un blanco determinado.
No citar. No citar87Perspectivas. Reducir el precio de equilibrio de los sobornos2. Con el tiempo, las demandas aumentan,y los traficantes eventualmente se niegan a pagar, lo que generanormalmente un enfrentamiento armado. Y con cada ataque exitoso,los incentivos para entrar en el negocio se fortalecen. Por eso tienen incentivos a desistir, esconderse, ser menos violentos,entre otros. O Globo McClatchy Newspapers Peropara la sociedad mexicana esto puede ser desastroso. Foreign Affairs, julio-agosto NPR, 18de mayo Costa, A.
O Globo,17 de mayo de American Political ScienceReview, 01 , The Trafficking in PersonsReport. Freixo, M. Friedman, M. Newsweek, 1 de mayo, p. Hirshleifer, J. Economic Inquiry,32 1 , Kleiman, M. Princeton: Princeton University Press.
BBC Mundo, 22 deenero de McClatchy Newspapers, 16 de marzo de Narcoviolencia en Brasil. Narcoviolencia en Colombia. O Globo.
World Drug Report Nueva York: Naciones Unidas. Penglase, R. Anthropology Today. Policia Civil do Estado do Rio de Janeiro Transnational Crime, U. Border Security, and theWar on Drugs in Mexico. California: Trans-Border Institute. Thoumi, F. Journal of Drug Issues, 35 1 , Probablemente, algunosejemplos concretos ayuden a comprender la gravedad y los costosque se derivan de asumirlas. Los narcotraficantes noPerspectivas. Carlos Medina, cmedindu banrep.
Posteriormente, se describen algunas intervenciones que se hanimplementado en la ciudad para combatir al crimen organizado. Las ciudades incluidas en el listado registran niveles de crimen muydispersos. El gobierno mexicano ha reclamado un mayor esfuerzodel gobierno americano para reducir la demanda de drogas, y se hamanifestado impotente ante las inmensas rentas que de ese negocioPerspectivas.
El costo del crimen y la violencia para una sociedad es algo complejode medir. La literatura ha clasificado estos costos entre directos eindirectos. En ambos casos es posible distinguir entre los costos quetienen consecuencias directas a nivel individual, en particular en el nivelde calidad de vida de las personas, y los costos con repercusionespara la sociedad en su conjunto. La guerra entre estosdos antagonistas, a juicio de Alonso et al. Este grupo es definido por Alonso et al.
El Nuevo Herald Perspectivas. Similar sucede con los capturadospor violencia intrafamiliar. Figura 2. Comolo subrayan Di Tella et al. Una de las primeras aproximaciones al tema se presenta en Di Tellaet al. Cohen argumenta que unade las razones que puede explicar la no significancia de los resultadosPerspectivas.
Disabled for life, the final takes show him still trying 13 - The choice of similar names Oscar and Omar may seem to highlight that these poor, marginalized characters who are suppliers of cheap labor, are interchangeable in a neo-liberal. Omar was freed from manual work, but at an unusual high price for him. Paradoxically, the message that stressed his ethnic affiliation triggered a series of events that left him marginalized, despondent and alienated in Buenos Aires.
Bolivia also exhibits the danger that the city hides for those dark-skinned migrants, who come from neighboring countries such as Bolivia and Paraguay. Even spaces like the bar, that were previously areas of common socialization, are now microcosms of the tensions and divisiveness that affect both the longtime residents of Buenos Aires and its newly-arrived immigrants.
As the other films where immigrants from neighboring countries attempt to make a living in Buenos Aires, Bolivia also ends with a representation of a metropolis, figuratively and literally, expelling the immigrant. Freddy is murdered in an act of violence that speaks of the helplessness and chaos that besieges the formerly enlightened capital city.
His place will probably be occupied by another immigrant, whose life will be as threatened by the climate of individualistic survival as his was. So far I have been talking about films that belong to the same kind of aesthetic, known as Nuevo Cine Argentino. These films have been directed by male filmmakers belonging to the same generation born in the late s and early s and they represent Buenos Aires in a similar fashion.
Rosa is sexually harassed by some of them and also by Don Enrique. He carries along Chango, a baby he met while working in a farm and whose family disintegrated, intending to be his provider, a hope that soon evaporates due to his inability to navigate life in the city. This scene speaks eloquently of the tense environment that permeates city life as the underprivileged fight for few available resources.
Within this context, it is not a surprise that the protagonist is robbed. Without money or a support network, he is forced to camp in parks and he is later recruited by an adolescent criminal who shoots and murders a man. Consequently, this character becomes another victim of the cutthroat atmosphere of Buenos Aires during neo-liberal times. Businessmen and Lovers: Foreigners in Buenos Aires During the s and following neo-liberal recipes, the Argentine state sought to reduce its size and expenses by selling many of the companies it owned.
Foreign investors seized the opportunity to buy and modernize these companies by re-orienting them to yield dividends. Many of those investing both in these areas and also in film co-productions were Spanish. Low budget productions and commercial films depict these Spanish investors in a negative light as they become more visible in Buenos Aires. Unlike the representation of migrants that show them in streets and public areas, foreigners appear in interior spaces, as protected from the life of the city.
ITI Telecom began operations on November 8th when the Argentine government through public international licitation granted it the telecommunications system of the North par of the country. As someone savvy in home video recording, Ariel applies for a position at a television channel, where he is interviewed by Baltasar Imanol Arias , a Spanish manager. The scene of the interview is crucial to understand the unequal relation of power between the foreign interviewer and the Argentine interviewee.
The latter appears so conscious of his lack training, experience, confidence that his characterization contrasts with the portrayal of the Spanish manager, who exudes self-assurance, knowledge and control of the situation. As the quintessential global manager, he does not have a strong connection with the city, nor does he strive to have one. He is literally portrayed with his back towards Buenos Aires, ready to relocate as soon as a more profitable business comes his way.
In general, these well-dressed and mundane characters are stereotypes with small supporting roles. However, they are transient figures, who come and go in a city full of life. Thus, they are represented as predators, who absorb and repatriate commodities from a city now integrated into global trade.
Metonymically, these women represent Buenos Aires, the city that enchants and seduces these middle age men. This is particularly true in Heartlift when Antonio seems to loosen up when visiting canteens and quaint tango bars. He walks in stone-covered streets that seem to idyllically depict Buenos Aires as a place for nostalgia, love and lust. These scenes lack the tense pace that migrants and businessmen experience in the city. Instead, the city is redeemed in these takes as it is shown as the ideal location to establish bonds of love and friendship.
Peter editoraplus. Lost due to the fact that his girlfriend has moved and he has a minimal command of Spanish, Peter is the stereotype of the hundreds of foreign students who have chosen Buenos Aires as a destination for study abroad since the early s. His is a journey not only within the city but also within himself. Peter arrives in love with an ideal, only to discover real love.
In the process, he also discovers a Buenos Aires that he never imagined existed: one full of caring residents and friendly to foreigners. Thus, in Inheritance, the city welcomes this white European foreigner accepting him as a resident. The City as Home: Immigrants in Buenos Aires In several films, Buenos Aires is also depicted as the place where many ethnic residents have built a home for themselves.
This depiction of the city as a chaotic yet endearing place has been spearheaded by director Daniel Burman. Whether he resists or accepts Buenos Aires, his life is molded by the urban and multicultural environment of the city.
The Buenos Aires that Burman depicts in Waiting for the Messiah and The Lost Embrace is anarchic, yet it is a place that many people call home, and one from which they cannot easily get away. Both films allude to the routes that led immigrants in their quest for a better future in Buenos Aires, their final destination. Nonetheless, these films also stress the roots that hold these immigrants and their descendants together as a community that encapsulates and replicates the phobias and spirit of the city.
Therefore, it is fitting that, in these two films, Ariel lives in Once, a commercial neighborhood where many Jewish immigrants settled at the beginning of the twentieth century. Burman captures the closeknit friendships and solidarity that pervades the existence of the Jewish residents of Once. While in both Waiting for the Messiah and The Lost Embrace, Ariel sometimes perceives this neighborhood as suffocating and limiting, Once, however, also represents the best elements of Buenos Aires.
Nevertheless, Buenos Aires is also shown as what remains, that is to say, the place where the circle of life—marriages, births and deaths— takes place. A remarkable aspect of The Lost Embrace is its different perspective from the previously mentioned films regarding the inclusion of newly-arrived immigrants.
For instance, these immigrants arrived from Asia and Latin America. Asians, whether they are from Korea or China, are shown as entrepreneurs and business owners, a fact that is highlighted by their location in a shopping mall in Once. Despite their limited Spanish language abilities, these immigrants are able to set up businesses and create job opportunities due to their cultural capital and financial resources. Like early immigrants before them, these recently-arrived Asians strive to build strong ethnic communities that serve as important networks in their new country of residence.
Unlike Asian immigrants, Latin American immigrants are depicted as isolated from their ethnic communities. Like in the aforementioned films, the ethnically marked immigrant from Peru in The Lost Embrace, is subordinate to lighter-skinned Argentines.
Thus, Burman playfully presents Asian and Latin American as the new Jews, those who are taking over and infusing fresh life to this traditional Jewish neighborhood. In this sense, Burman represents Once as a part of the city that still welcomes newcomers and that thrives due to its multicultural diversity. Buenos Aires as home to immigrants is also the central theme of Inheritance which focuses on Olinda Rita Cortese , an Italian woman who followed a lover to Argentina and decided to stay.
Olinda is one of the most interesting characters in recent Argentine cinematography. She is the only female immigrant who is a longtime resident of Buenos Aires and is shown without a nuclear family. In addition, Olinda represents a community of Italian immigrants which, although one of the most sizable in Argentina, has not enjoyed considerable attention on the part of Argentine filmmakers.
The diegesis of Inheritance shows Olinda experiencing a mid-life crisis triggered by the nostalgia of her homeland. Olinda has succeeded; she lives independently and is respected thanks to her hard work and ethics. Hence, she perceives Buenos Aires as a demanding place that has not only required all her energies but has also imprisoned her at a moment when she longs to return to Italy.
The appearance of Peter, a German student, makes Olinda revisit her personal journey, from immigrant to resident of the city. The Buenos Aires of Inheritance appears as a city being constantly renovated by the arrival and departure of foreign people.
Unlike Olinda, Spanish immigrant Liliana Mercedes Sampietro , a character in Common Places 19 - This constitutes quite a departure from musical representations of Buenos Aires, here I am referring to tango songs that often times depict Buenos Aires as the place that inspires nostalgia and to which characters seek to return.
In the opening scenes, we see Liliana, whose only son now lives in Spain, volunteering and teaching literacy in a marginal area of Buenos Aires. Because her husband was coerced into retiring, the couple is forced to downsize; however, this couple view this plight as an opportunity that they seize to move the countryside.
However, as with the case of Olinda from Inheritance, Liliana represents the Spanish immigrants who massively arrived in the first four decades of the twentieth century and who have not been extensively represented in contemporary Argentine cinema. Nonetheless, Common Places portrays contemporary Buenos Aires as a city that is a luxury for retired people with dwindling resources. Conclusions Since the early s, Buenos Aires has been transformed by the inception of a free-market economy that allows the uncontrolled flow, not only of capitals and commodities, but also of human beings who migrate.
Along with the implementation of neo-liberalism, there has been a growing aware- editoraplus. Argentine filmmakers have adapted some of the ideas derived from multiculturalism by depicting the migrants, foreigners and immigrants who now inhabit Buenos Aires.
By showing the multiple panoply of the different faces seen in contemporary Buenos Aires, the city is depicted as one that partakes in globalization, experiencing both the inclusion into the global world and its dark side: the marginalization and discrimination of certain ethnic groups. The portrayal of the numerous people who converge in Buenos Aires render it as a complex city in which some groups fare better than others according to the survival of the fittest that late capitalism promotes.
Dark-skinned migrants from the countryside and neighboring countries, such as Bolivia and Paraguay, are mostly shown in films by young and emerging directors such as Caetano, de Rosa, Moreno. All of these films present the discrimination that these migrants suffer as a result of xenophobia. Moreover, a tense economic situation contributes to make unemployed Argentines feel threatened by the arrival of these new workers that represent potential competition.
In this context, migrants are repeatedly shown as helpless and innocent victims of cutthroat antagonism as they are either killed or rendered disabled, and both literally and symbolically expelled from the city. On the contrary, foreigners who arrive as managers or tourists perceive Buenos Aires in a different light. With money, these immigrants can gain access to secure spaces and luxurious hotels, where they can trade and conduct business.
This depiction has been quite similar in either commercial films like Nine Queens or operas editoraplus. Finally, Buenos Aires is also shown as the home to many Europeans immigrants who have arrived in the late nineteenth century and early twentieth century.
New immigrants from Asia, particularly Chinese and Koreans, are also briefly presented as injecting new life in some traditional immigrant areas as well as changing the typical Westernized features of Buenos Aires, rendering a multicultural space, albeit not a harmonious multicultural melting pot. Nine Queens. Burak, Daniel. Bar El Chino, Burman, Daniel.
Waiting for the Messiah, Pizza, Beer and Smokes, Chomsky, Alejandro. Today and Tomorrow, De Rosa, Mariano et al. Bad times, Fondebrider, Jorge. La Buenos Aires ajena. Buenos Aires: Emece, Miradas sobre Buenos Aires. Buenos Aires, Siglo Veintinuo Editores, Inheritance, Jacokvis, Natalia. Little Heaven, The fact of the apposition of the word to the Cubans and, throughout the history of U. One could also do a minute tracking of its use over the centuries in the English language in the Oxford English Dictionary.
However, none of the prevalent uses of the terms in the nineteenth century and most of the twentieth century is useful in sorting out exactly what is supposedly covered by the term and precisely why there is allegedly a problem with effeminacy.
I have drawn heavily on the research on film and popular culture and intersections with the queer of Alexander Doty, Richard Dryer, Chris Holmlund, and Vito Russo although none of them makes reference to the texts discussed in this essay.
Thus, initially, it becomes imperative to attempt to factor out some of the contradictory meanings of the term. Certainly, the matter cannot simply be its function as a descriptor of a man who, for some reason or another and to one degree or another, adopts the tertiary sex characteristics of those social subjects accepted, in an unanalyzed fashion, to be women.
Such tertiary sex characteristics refer to features of voice, physical bearing, dress, and language some features of grammar, but mostly the use of lexical items and, definitely, the inappropriate use of pronouns and predication. These major features constitute a cluster of visible traces that allow for the observer—specifically, the observer with a vested interest in the semiotics of the body, such as the agents of nineteenth century public hygiene who came to work in tandem with the guardians of religious morality—to identify a specific social subject as marked by effeminacy.
Yet, once again, all of this begs the question as to why such an operation of identification has social meaning: why, in effect, does it matter?
And it is, indeed, this virility that will enable editoraplus. If virility in this case is a synonym of courage and if by effeminacy one understands the subtraction, up to the extent of total absence, of courage, what is at issue is both a particular model of manliness and the threat to that manliness of any encroachment from the antithesis of manliness, which is womanliness. The matter of sexuality, understood as an erotic program, is never mentioned.
Yet it is always and ever the shadow that haunts the primary attribution of effeminacy. Behind historical figures like Catalina de Erauso stand mythological figures such as the female warriors known as the Amazons.
It is at this point that we must make the transition from understanding virility as a synonym of, redundantly, manly courage, to understanding virility as signaling appropriate sexual role playing. While there is nothing inherent or inevitable in effeminate men shunning the sexual company of women if this were so, the conventional image of the court of Louis XIV would have been no better than a Carmelite nunnery to Madame Pompadour and associates , the semiotic practice via which effeminacy is identified always brings with it the implication of homosexuality or of sodomy, as was the prevalent term as one of practice, before the late nineteenth-century emergence of the term homosexuality as an identity, a way of being in the world, as Foucault famously perceived.
It is important to note that this exchange takes place in the overall context of the attempt to secure Arizona for the United States, and the baby that is eventually birthed is the first white child to be born in Tucson ca. Homosexuality, as it emerges—as it is invented Katz —in the company of the modern organization of society and its social subjects, is, no more than effeminacy, not free of contradiction, even when it purports to be part of the vocabulary of a scientific psychiatric discourse.
Such conduct might today be more commonly known as transexuality, with the assumption that if X, assigned at birth the gender of male, wishes to be publically identified as a woman, when he desires sex with a man, X is behaving in a heterosexual way.
Such a position accepts unquestioningly a that such conduct is always driven by the attempt to procure a sexual partner, and b that such a social subject will never desire a woman as a sexual partner.
The important point to be made here, although it often remains more implicit editoraplus. That is, such a presumption accepts as an unanalyzed given that the conduct at issue can never be an end in itself and that its covert agenda—covert because of the dangers customarily associated with it being announced unequivocally—as sexual fulfillment.
Homophobia is usually understood to mean the irrational response, and accompanying violence, in the face of the signs of homosexuality. Historically, the violence of homophobia has been excused—rarely condemned and infrequently prosecuted—because it is presumed to be the consequence of a reaction to the presence of homosexuality that is irrational: the witnesses to homosexuality cannot control themselves and are, therefore, blameless in the face of what is, after all, the culpable provocation induced by those who would display the signs of homosexuality.
The homophobic eye scans the body of the other in the search for a sign, any sign, that would betray deviance from the heterosexist norm: such a sign is the manifest trace of an occult desire that must necessarily lead to illegal and sinful acts. That is, there is an inflexible semiotic chain that connects visible sign with inevitable behavior. Neither the validity of the sign, the chain of narrative deduction, nor the nature of the behavior can ever be questioned: homophobia cannot, historically, be called on justify itself as a semiotic operation nor can the logic of its implacable interpretive process.
Even when homophobia remains, in a given social or narrative universe, unpracticed, there is, for the bystander, the constant frisson of the possibility that it will, to use an appropriate metaphor under the circumstance, kick in, with grimly foreseen consequences. In the case of the Anglo audience of a cultural production featuring Latinos, the ground zero assumption is the class inferiority of the latter. In terms of gender, the ground zero assumption is that Latinos cannot be counted on to adhere to the decent assumptions of heteronormativity.
Such an assumption means that the oversexed macho rapist and the simpering effeminate individual are, in reality, two sides of the same coin: neither adheres to a decent standard of heterosexual conduct, either towards women or towards other men.
Finally, even in those circumstances in which the Latino does, in fact, occupy a superior social position, such as in the case of the Don, the caballero editoraplus. Thus the Don, infrequent evidence to the contrary not withstanding, is also seen as indecent, prone to either rampant machismo or unbridled effeminacy.
Indeed, the sumptuary practices of the real or feigned aristocracy of the Don, as against the sartorial sobriety of the Boston gentleman the Anglo standard throughout much of the nineteenth century become inevitably interpreted as a manifestation of gender deviance. The same sort of inevitable interpretation accompanies physical attributes quite separate from practices of dress and other refinements. All of the foregoing is admittedly an exercise in overgeneralization, and one cannot assume that it is supported by unimpeachable sociological evidence.
But the point is that we are not talking sociology here, but rather about the practices of the cultural imaginary such as we will find them evinced in the record of cultural production: our record here will be a broad representative sampling of Hollywood filmmaking of the past century. There is a final point to be made here with respect to the cultural production at issue and the theoretical principles on which we might ground an understanding of how that production constructs meaning for its audience.
I am speaking of the emergence of an ironic stance against the complex of effeminacy and the emergence, at least in the final decades of the twentieth century, of queer theory. Queer theory is a critical deconstruction of the assumptions of heteronormativity and compulsory heterosexuality and an inquiry into the foundations of any and all sexual ideologies.
As such, queer does not equal gay, to the extent that the latter represents a new form of normativity the legitimacy of editoraplus. Such stances may not categorically escape the process of homophobia: irony may function as another form of homophobic ridicule.
But irony may also echo, as a way of reacting to a social formulation, the deconstructive inquiry of queer theory, such that what is ridiculed are the notions of gender stability, privileged virility, and decent heterosexuality that provided effeminacy and the whole range of social meanings it enacted with the shroud of social unacceptability, accompanied, in the case of the record of cultural production at issue here, by racial and ethnic condemnation. In the original text, Tonia Perez is part of a love triangle that includes two men, the Cisco Kid and Lieutenant Sandridge, who both wish her attentions.
Sandridge has been sent to investigate the charges against the Cisco Kid regarding his marauding and murderous ways, but decides rather to go after Tonia when he comes upon her in his search for the Kid. Since it is not in his character to share his women with others and much less to be duped by them, the Cisco Kid maneuvers Sandridge, through a ruse of mistaken identity, into killing Tonia: thus, the Kid escapes, avenges himself of a unfaithful lover, and leaves her new lover and his rival behind to suffer the heart-wrenching consequences of having killed the beautiful Tonia by mistake.
Thus, in terms of the rivalry of options, an Anglo who appears to look Mexican, or who may even be a Mexican, is upstaged by a magnificent specimen of blond Anglo beauty. Henry, in the end, appears more interested in the pathos of the seductive Mexican woman who distracts the Anglo military man from his duty, only for him to be left emotionally destitute and shamed in non-fulfillment of his duty.
Dunn and Jack W. Johnston as the Cisco Kid and Sandridge, respectively. One will note immediately that the Cisco Kid has here moved into the position of first billing.
Thus, in keeping with editoraplus. The first version of The Cisco Kid, with the Kid now firmly in the title role and now unquestionably the main cha- 26 - Although I can find little information about it, there appears to be a film with the same title, produced by the Selig company and in which the U.
Army routs the Mexican bandits. I underscore these shifts in the names and in the plot details, particularly the dynamics 27 - After being a radio series in the early s, The Cisco Kid also becomes a well received TV series that runs between , with Eddie Davis and others as directing episodes. The Kid, who is unambiguously Mexican but possessed of good English, is accompanied by an English-mangling Mexican sidekick Pancho, and their adventures are in the tradition of the Lone Ranger and Tonto Cisco and Pancho are, of course, both affective variants of the name Francisco.
The team also made a dozen semi-feature-length films i. Mexican relations Horowitz She is a figure both Rabelasian and profoundly cynical. Not getting it right and getting it wrong—and the area of possibilities in between can be frustrating, embarrassing, confusing, and downright dangerous: in Cummings film it becomes lethal. One will recall from O.
Rather, they are bound together for the love of the same woman, who attempts to cheat the Cisco Kid with the army officer, and is in turn, in a situation of supposed cross-dressing, killed by the Kid, who is supposed to believe he is really killing the disguised officer.
There he learns that part of the money he has stolen was being sent through Wells Fargo by the barber to his family back in Sicily. As the barber gladly acquiesces to this demand and goes to prepare the bath off screen, Sergeant Dunn, who has been ordered to hunt the Kid down, with no questions asked, arrives to get spruced up himself.
One axis of this banter involves the Kid trying to convince the Sergeant to treat himself to the same sweet-smelling perfume with which the Kid douses himself. It is immaterial if the lates audience saw anything queer in this exchange. Rather, the point is that editoraplus. He is dumbfounded to learn that he has been discussing aftershave lotions with the man he has been sent to kill. This will play out in the correlative scene of misrecognition in which Tonia sends a missive via Elena that will allow Dunn to entrap the Kid so that she and the former can run away together to New York.
Cisco intercepts the message and rewrites it in such a way that Dunn will mistake Tonia for his cross-dressed rival and shoot him; Dunn, of course, shoots and kills Tonia instead. The Kid takes this in stride and rides off into the night, his superior cunning, non-Anglo if not specifically marked as Hispanic, prevailing against the dumb Anglo.
And then there is the matter of cross-dressing. One very campy aspect of the film is the fact that Spanish is supposed to be spoken at crucial moments. Cisco and Tonia are supposed to be speaking Spanish Baxter makes some feeble attempts with an atrocious pronunciation , but mostly they speak in pseudo-accented English.
All of this provides another level of misrecognition in the film, but in terms of the audience and not in the universe of the narrative. One can, however, view this Spanish-language privilege, which I repeat involves Elena and company, as related to the Hispanic moral superiority and cunning the Cisco Kid embodies. Statistics based on an internet search conducted in September In terms of cultural capital, English and German are often contrasted with French along an axis of manly vs.
Set around mention is made of sending the army to Cuba , the overall effect of In Old Arizona is that of a picture postcard, surely important in the postwar period for the opening up of Arizona to white settlers who will come in en masse less than twenty years later after the next world war.
One final note: Baxter, like many Western heroes of the old black-and-white era, is heavily made up, down to very precise bold lip-liner. This ebullient, irrepressible Mexican bandit even recites poetry, which is presumably part of the quirkiness of his being Mexican rather than Anglo. Nevertheless, this more mature presence is appropriate to his wellformed heroic presence, as opposed to O. Roland also made The Mark of Zorro , having played in a number of spaghetti westerns in the s.
And yet, and yet. In order to save the ancestral hacienda of her father, Don Felipe, from foreclosure, Angela agrees to marry the Anglo Mr.
Lawton, spurning Juan, the man she really loves. But Lawton, in order to have the wealth that will enable him to marry the gorgeous Spanish beauty, robs a caravan carrying a bounty of silver 34 - Although Roland is never openly or, apparently, otherwise identified as gay, he gets mentioned repeatedly by Cesar Romero in his interview with Boze Hadleigh on gay Hollywood.
The plot contains several incoherencies, but is notably for the main adversary of the Kid being a woman, the large landowner Ms. However, they are only passing fancies for him and, while he rewards the latter two with impressive silver necklaces, in the end he always rides off with his Robin Hood-like band of merry men, to continue to steal from the poor and enforce simple social justice across the land.
This is apparent in the juxtaposition between Cisco and his Sancho Panza- editoraplus. Lawton, is defeated in his double assault on that world, in the form of the deceitful seduction of Angela and the robbery of the silver destined for the Catholic mission.
Such bonding, while deeply emotional with often compassionate commitments between men, is typically not homosexual: indeed, homosexual passion is viewed as a disruptive threat to the integrity of a 35 - It is obvious that the script draws not only on O. Clearly, any relationship of passion homosexual or heterosexual that eschews a hierarchical binary is a different matter. The point, however, is that patriarchal heterosexuality, and its homosexual reduplication, is grounded on hierarchical binaries.
It is notable that the film in question, as well as the other Cisco Kid productions of the s, coincides with the buddy system still so very much in place at that time and in abundant evidence in the war films of the period. Lawton or Don Felipe. Moreover, his horse is decked out in expensive silver gear that is an obvious concession to flashiness that contradicts his Robin Hood-like conduct on behalf of the poor.
Even if Cisco is not gay in the now prevalent sexual sense of the term, in terms of the semiotic interpretive chain that I have mentioned as part of the conceptual grounding of this study, he deviates from an accepted norm of masculinity such as we see enacted by both the Anglo Mr. Lawton and the Hispanic Don Felipe.
And in the sword-fight scene in which Cisco vanquishes Mr. While Cisco romances several women and is gallant with all who cross his path, these in the end are all fleeting encounters, given whatever the pulls of his band of followers may be. Contemporary viewers, educated outside the framework of the hermetic heterosexist world of the s, may well want to see the excessiveness of the latter charms as a substitute for the inability to wield the always withheld physical ones: a quick kiss appears to be the best the Kid can muster.
One is not sure of how much of a happy ending this will be, since Don Felipe is still threatened with destitution, but having fulfilled a significant quota of good deeds, the Cisco Kid rides off with his band of men, their merry voices raised in their song of triumphant solidarity.
Those fissures—queer fissures, then—are reinforced most remarkably by the fact that they are attributes of a world of Hispanic values and demeanor that triumph over the machinations of an evil Anglo villain: this is precisely the sort of plot dynamic Peter Medak will play up in Zorro, the Gay Blade where the Latino character can be manifestly gay and at the same time triumph against villainy.
In order to comply with this role, he is ingeniously clever, according him a level of intelligence that allows his gay agency to triumph in a way that would be inadmissible in heteronormative farce, where gay equals evil: that over which good confirmed by gender conformity will prevail.
Medak sets up his interpretation of the juxtaposition of twins in the following way. However, in a variation of the good and evil brothers—although here childhood friends—Esteban is as greedy and abusive an administrator as the elderly Vega was a generous and benevolent one. Moreover, the younger Vega learns that his father editoraplus. In order not to disrupt the momentum of the challenge to Esteban, he turns to his twin brother to replace him in his noble undertaking, which is colored by the tribute to the father and the heroic legend of the figure of El Zorro.
Appealing to his brother Ramon40 on such lofty grounds compels the latter to accept. However, there is a minor inconvenience. While Diego fulfills in aces the paradigm of imposing masculinity, that of a man among men, Ramon has pursued other models.
Thus, although Ramon agrees to continue the family tradition of donning the Zorro costume and to fight valiantly—and, in the end, triumphantly—against malefactors, he can only execute this investiture on his own terms, which is as ever and always the flamboyant Bunny Wigglesworth both names, to be sure, constitute sexual innuendos.
En agosto de fue investido con el grado de Suboficial. Para sus cuatro hijos fue un buen padre y todo un ejemplo. Hasta que el 16 de marzo de obtuvo su retiro voluntario con nota de conducta buena.
Debido a la importancia de la seguridad, los andadores no son recomendados por los especialistas, pues sus desventajas son mucho mayores que la comodidad que pueden otorgar. CON 2. Las autoridades lo internaron en un hospital de alta seguridad en la localidad de Atascadero. El 7 de mayo de Kemper fue formalmente acusado de ocho asesinatos en primer grado. Actualmente sigue recluido y su comportamiento ha sido ejemplar. De ese lado oscuro pocos quieren hablar, pero cuando lo hacen, todo el mundo se entera.
Originalmente, Tropa de elite iba a ser un documental, pero intentar entrevistar y filmar a los verdaderos involucrados era altamente complejo. Filmar en las favelas tuvo un alto costo. Short-link Link Embed.
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Delete template? Anular Delete. Anular Overwrite Save. Don't wait! Try Yumpu. Start using Yumpu now! Terms of service. Privacy policy. Cookie policy. Change language. La Acerca de este contexto, la espe- W. Aunque no lo creas o student unions and the destruction of all grassmots organizations. El jefe del cartel de Baja los agentes de FBI. The wind that destroys also spreads the seeds de morfina.
Los presidentes Roosevelt y Avila Camacho hicieron to new ground. I say if they want us to scatter, so be it. El opio Grow and spread. Bourdieu, Pierre. The Field of Cultural Production. La fruta prohibida. La droga como espejo de la rivales en Guadalajara, y el asesinato de Luis Donaldo Colosio.
Es- cultura. Colombia: Editorial Panamericana, Guerra contra la droga. Winslow Como Elmer Mendoza, Lemus, Rafael. Otros investigadores han calificado esta guerra como nexos. Balas de Plata. Barcelona: Tusquets, 24 pero, a pesar de esto, se siguen librando batallas falsas y Revista de Estudios Literarios.
Uni- versidad Complutense de Madrid. Barcelona: Tusquets, Montoya Arias, Luis Omar. Palaversich, Diana. Narrating Narcos. Pittsburgh: University of Pitts- burgh Press, Time and Narrative. I trad. Winslow, Don. Australian Broadcasting Corporation. The Power of the Dog.
New York: Vintage, Esos muchachos hablan de su jefe como un mito. Si queremos explicar el origen y prolife- para que no les falle la bala pero la vida para ellos no vale nada. Semana En efecto, la to derrotado y abandonado en la cruz. La casi infinita lista de cau- se remonta a la conquista.
El laberinto de la soledad. Vallejo, Fernando. La virgen de los sicarios. Madrid: Alfaguara, Madrid: Debate, Franco Ramos, Jorge. Buenos Aires: Planeta, Noticias de un secuestro. Jaramillo, Julio y Diego Alejandro Bedoya. Junio-Julio Madres y Huachos. Santiago de Chile: Sudamericana, Este trabajo surge de esa curiosidad. A un primer nivel, lo primero que se descubre es que hasta la fecha son tan pocas las mujeres que han ascendido en los escalones. Polly F.
Como consecuencia, para combatir la amenaza de las drogas. En su libro, National culinas del Estado. Las central to the mobilization of national identity. William S. No hay duda de que el error de Lola fue involucrarse en un ne- And the fact is that by this road of social revolution our people are gocio que pertenece a los hombres. Salazar Viniegra tiene que en- to be freed of drug traffickers and addicts. El grado de poder que Lola tuvo o no tuvo es ciertamente mate- Later, I discovered—and you need not worry about me now— ria de debate, no obstante, su fama fue indiscutible.
El Salazar, Open Letter…. Pero sobre todo, este fico con la del Sur. Drogas sin fronteras. El uso de un lenguaje que re- les. Carey, Elaine. Gender and Power. Society, the Person and Sexual Politics. Stanford: Stanford UP, La bala perdida: William S. Burroughs en Mexico, Tickner, J. Boulder-London: Lynne Rienner Publishers, Fiesta en la sierra. Universal Music Latino, Mexico, and Narcotics Policy, Hooper, Charlotte.
New York: Columbia UP, Kinder, Douglas, and William O. Walker III. Maria Full of Grace. HBO Films, F: Biblioteca Era, Nelson, Dana D. Durham-London: Duke UP, La reina del sur. Madrid: Punto de lectura, Radosh, Polly F. Stewart, James B. Tal propuesta puede elucidar respeto de las realidades de los mercados literarios transnacionales. Latina en su destino mayormente a los Estados Unidos. Son innegables herederos del poder. La telenovela produ- dos sobre el mundo de hoy.
Esto produce un contacto desestabilizador del su compra o a la fuerza con su muerte. Restrepo 1. Ambas novelas reflejan la cre- tradicional. Y Aguirre. Con el objetivo de y confirmarlas para un consumo global. El can su censura. El narcocorrido, por ejemplo, retoma una forma Nuevo Diario. The Decline and Fall of the Lettered City. Nueva York: Siete Cuentos Editorial, para enfrascarse en la nueva empresa, ahora, hedonista, utilitarista Fuentes, Carlos.
De ella se nutren sus nove- Chasqui. De ella depende su imaginario. El cartel de los Sapos. Barcelona: Planeta, El cartel de los Sapos 2.
El Nuevo Diario. Viento Rojo. La Prensa. Hispanic Review Restrepo, D. Nueva Sociedad. Roa, Doren. Frontera norte. Es el detonante que propicia Colombia3. Cuenta la vida de Pablo Escobar. Son paranoicos, como los narcos. Para mayor profundi- entre otros. Sin del terrorismo Una repetibilidad absurda de una realidad aciaga que del siglo XIX; 2. La Violencia8 bipartidista; 3. La novela presenta dos pers- guerra.
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