Archétypes du corps cinématographique du narcotrafiquant mexicain
This paper explores three Mexican fiction feature films internationally released in 2011: Miss Bala, Days of grace and El Infierno. The movies propose three different criminality’s representations related to drug trafficking. Therefore, we try to draw various archetypes of the drug dealer’s body in...
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| Format: | Article |
| Language: | Spanish |
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Presses universitaires du Midi
2019-12-01
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| Series: | Caravelle |
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| Online Access: | https://journals.openedition.org/caravelle/6372 |
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| _version_ | 1841551358581276672 |
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| author | Magali Kabous |
| author_facet | Magali Kabous |
| author_sort | Magali Kabous |
| collection | DOAJ |
| description | This paper explores three Mexican fiction feature films internationally released in 2011: Miss Bala, Days of grace and El Infierno. The movies propose three different criminality’s representations related to drug trafficking. Therefore, we try to draw various archetypes of the drug dealer’s body in films. How do filmmakers depict their character, their physical appearance and metamorphosis and their integration into a group? To what extent are these accusing portraits? Do they contribute to maintain the attraction towards this figure, fictional as well as real? |
| format | Article |
| id | doaj-art-bed8ff60d84746508fbea7da64c7a425 |
| institution | Kabale University |
| issn | 1147-6753 2272-9828 |
| language | Spanish |
| publishDate | 2019-12-01 |
| publisher | Presses universitaires du Midi |
| record_format | Article |
| series | Caravelle |
| spelling | doaj-art-bed8ff60d84746508fbea7da64c7a4252025-01-09T16:15:12ZspaPresses universitaires du MidiCaravelle1147-67532272-98282019-12-01113355010.4000/caravelle.6372Archétypes du corps cinématographique du narcotrafiquant mexicainMagali KabousThis paper explores three Mexican fiction feature films internationally released in 2011: Miss Bala, Days of grace and El Infierno. The movies propose three different criminality’s representations related to drug trafficking. Therefore, we try to draw various archetypes of the drug dealer’s body in films. How do filmmakers depict their character, their physical appearance and metamorphosis and their integration into a group? To what extent are these accusing portraits? Do they contribute to maintain the attraction towards this figure, fictional as well as real?https://journals.openedition.org/caravelle/6372MexicoCinemacriminals’ bodyCostumeMetamorphosis |
| spellingShingle | Magali Kabous Archétypes du corps cinématographique du narcotrafiquant mexicain Caravelle Mexico Cinema criminals’ body Costume Metamorphosis |
| title | Archétypes du corps cinématographique du narcotrafiquant mexicain |
| title_full | Archétypes du corps cinématographique du narcotrafiquant mexicain |
| title_fullStr | Archétypes du corps cinématographique du narcotrafiquant mexicain |
| title_full_unstemmed | Archétypes du corps cinématographique du narcotrafiquant mexicain |
| title_short | Archétypes du corps cinématographique du narcotrafiquant mexicain |
| title_sort | archetypes du corps cinematographique du narcotrafiquant mexicain |
| topic | Mexico Cinema criminals’ body Costume Metamorphosis |
| url | https://journals.openedition.org/caravelle/6372 |
| work_keys_str_mv | AT magalikabous archetypesducorpscinematographiquedunarcotrafiquantmexicain |