Abstract
Though ignored or reviled by critics of the Mexican cinema because of their folkloric character, the films of lucha libre star El Santo are important texts for understanding the transitions taking place in Mexican culture in the 1960s and 1970s. The Santo film's representations of technology, modernity, and most significantly gender relations mark a decisive shift away from traditional formulations to point towards a contemporary engagement of these issues that, contrary to the claims of most scholars, acutely reflect the social dynamics of this turbulent period in Mexico's development.
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