Abstract
The compilation film La venganza de Pancho Villa (ca. 1930), created by itinerant exhibitor Félix Padilla, combines footage from two national cinematic traditions— those of the United States and Mexico—to construct a biographical film about the regional hero and revolutionary general Francisco “Pancho” Villa. The film’s use of found footage offers a retort to American films rife with stereotypical images of Mexican masculinity. However, a close reading of the film in the context of local practices of film distribution and exhibition finds that the film expresses an oppositional consciousness shaped by the structures and ideologies of the dominant film industries it draws from, including a masculinist nationalism that reinscribes racial and gender hierarchies.
Published Version
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