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Un Distinto Amanecer (Julio Bracho 1943) para la nación Mexicana
Abstract
The Mexican film Another Dawn (1943) contributed to strengthening the early prestige of its filmmaker, Julio Bracho. After its premiere, in November 1943, the important entertainment magazine Cinema Reporter stated: "By many outstanding movie critics this is considered the best cinema picture screened thus far∗ (Godoy 28). However, the press of the time refrainedfrom mentioning that the film openly criticized the corrupt governors. Instead it expressed its hope in the power ofthe guilds, the relevance of education and the implications of the expropriation ofthe railway network, which had been the cornerstones of President Ldzaro Cdrdenass (1936-40) policy This article proposes that Another Dawn can be read as an adherence to the achievements of former president Cardenas and a warning about the actions of Manuel Avila Camacho (1940-46), who not only stopped supporting any revolutionary action of socialist nuances but prevented them directly. My analysis of the film starts by taking a look at the Mexican sociopolitical context in the late 30s and the early years of the next decade; after that, it links Max Aub's original text with Brachos film adaptation. Finally, this article analyzes some union and social issues that were of Bracho's personal interest and are part of the main meaning of his film.
... Party leaders instrumentalized the political system in order to tighten their grip on the most relevant social sectors. It is therefore not surprising that one of the earliest Mexican noirs Distinto amanecer (Bracho 1943), focuses on the persecution of a young labor leader striving to uncover the corruption of a governor who is acting in cahoots with foreign investors (Castro Ricalde 2017;García Riera 1998, 136). Clearly, in the eyes of many observers, an undercurrent of corruption, violence, and moral degradation was indelibly mixed with the auspicious possibilities of material progress touted by the new government, positive projections that in many cases came to fruition despite the violence and corruption because the regime was able to sustain annual growth levels of 6 percent or higher for several decades (Kehoe and Meza 2013). ...
International reconsideration of Mexican film noir is a recent phenomenon. For decades, Mexican film criticism tended to dismiss the importance of this tradition and even to deny its existence, often citing the presence of melodramatic elements in would-be noir films and the lack of a crime novel tradition for screen adaptations. By comparing two Mexican films to similar American productions and examining the local political and economic conditions of the former, this article argues that Mexican film noir had its own pessimistic viewpoints, which were borrowed from journalism and the illustrated press. These viewpoints were based on existing social ailments and delivered relevant criticism of the institutions, classism, and sexual norms of the postrevolutionary Mexican state of the 1940s and 1950s.
Latin American Literature in Transition 1930-1980 explores the literary landscape of the mid-twentieth-century and the texts that were produced during that period. It takes four core areas of thematic and conceptual focus – solidarity, aesthetics and innovation, war, revolution and dictatorship, metropolis and ruins – and employs them to explore the complexity, heterogeneity and hybridity of form, genre, subject matter and discipline that characterised literature from the period. In doing so, it uncovers the points of transition, connection, contradiction, and tension that shaped the work of many canonical and non-canonical authors. It illuminates the conversations between genres, literary movements, disciplines and modes of representation that underpin writing form this period. Lastly, by focusing on canon and beyond, the volume visibilizes the aesthetics, poetics, politics, and social projects of writing, incorporating established writers, but also writers whose work is yet to be examined in all its complexity.
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