Abstract
The reception of Italian diva films starring Pina Menichelli, Francesca Bertini, and Lyda Borelli in Mexico City was pivotal in shaping conceptions of the film spectator and the new professional role of the film critic in Mexico City in the late 1910s and early 1920s. In early writings on the divas, journalists (usually erudite and male) established their critical authority through contrasts with the behavior of fanatical fans (usually middle class and female), evaluating the effects of moviegoing, interconnected forms of consumer culture, and the local production of feature films in relation to the nationalistic goals of the postrevolutionary state.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
