Abstract
The objective of this work is to make a film journey between the connections of the cinema and the history where the Virgen morena del Tepeyachas been present. Based on the classification of historic cinema proposed by Robert Rosenstone in his work History in the cinema: cinema in history(2014), the article analyses the links between cinema and history taking in consideration this cinematographic protagonist, which has been present since 1917 to 2009 in Mexican cinema. Sometimes as an interpreter, sometimes as a companion, and many more as an intercessor, it has become recurrent through the representation of the Guadalupan miracle in the national cinematographic imaginary.
Sign-in/Register to access full text options 
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 call
