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By Juan Poblete

This ebook addresses various nearby humor traditions resembling exploitation cinema, Brazilian chanchada, the Cantinflas historical past, the comedy of manners and light-weight sexuality, iconic figures and characters, in addition to a number of humor registers obtrusive in several Latin American films.

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In the context of a general study of comedy as a broader cultural form with a long-standing history, in tension with and transformed by realism, the chapter explores the bodily effects of the genre and uses the stutter of Sandrini’s characters heuristically—figuring it within film texts, material film practice, and spectatorial experience. In the second chapter, Gareth Williams examines the relation between Mexican humor and the administration of public matters in the 1930s, concentrating on how the former “carpa” comedian Mario Moreno, “Cantinflas,” caught the eye of the Mexico City press by becoming an active, yet absurd, participant in the most discordant political debates of the 1930s.

Eds. , 67–80. Print. Maranghello, César. Breve historia del cine argentino. Barcelona: Laertes, 2005. Print. Mart ín-Barbero, Jesús. ” In El Consumo cultural en América Latina. Ed. Sunkel, Guillermo. Bogotá: Convenio Andrés Bello, 1999. 2–25. Print. Medina de la Serna, Rafael. ” Mexican Cinema. Ed. Paulo Antonio Paranaguá. Trans. Ana Mar ía L ópez. London: BFI Books, 1995. 163–170. Print. Morreall, John, ed. The Philosophy of Laughter and Humor. Albany: State University of New York, 1987. Print.

The restricted political system ushered in by the military coup of 1930, conservative economic interventionism (import substitution), and massive internal migration revived labor militancy in the 1930s and Argentine workers’ sense of exploitation, creating a receptive audience for Juan Perón’s populist message. Concurrently, the growing economy created real opportunities for social mobility, and the working-class consciousness of earlier years gave way to an identity that was less grounded in class (Karush, 2).

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