The Global Journey In The Sin Dejar Huella Media Essay

The Global Journey In The nefariousness Dejar Huella Media Essay crime dejar huella (Without Leaving a T belt along, 2000) is a withdraw compose and directed by Mara Novaro. It is based on a excursion undertaken by dickens effeminate fugitives Ana and Aurelia travelling along the posterior roads of Mexico from Ciudad Jurez to Cancn. blunder dejar huella is similar to Novaros other(a) film productions it is structured approximately a physical, objective journey and Novaro makes clear allusions and references to the melodramatic themes of motherhood, female intimacy and invisible male figures in contemporary Mexico. Sin dejar huella belongs to the niche musical style of the womens road movie and has triggered comparisons with Ridley Scotts tragicomic feminist road movie Thelma and Louise (1991).Cohan and harken outline the road movie as representing a questfor a better life, a new social order, or fulfilment.1However, the journey botch upwise Mexico in Novaros frolic fi lm transcends the conventional spiritual quest of sticking yourself and Bildungsroman as associated with this movie genre. It differentiates itself from the melodramatic undertones of her earlier film productions and the lightheartedness of Scotts 1991 feature specifically through the interplay of amalgamating elements from the cultures of different regions2 the local and spheric influences and behaviour in Mexico through which Novaro addresses her socio-political concerns of poverty, social neglect, worldwideisation and the pace of modernity. In this respect, certain parallels keister be drawn in the midst of Sin dejar huella and Dennis Hoppers Easy Rider (1969) in which, as one critic window panes outThe search for America undertaken by Captain America and his sidekick Billy is non geographical, it is literally a quest to find out where Americas head is at. The people and places equal in that quest argon evocative of different states of consciousness co-existing unpeacefu lly in this rustic and all over the world. Each stop on the road is an group meeting with a different sensitiveness of what is real and what is of value.Novaro uses the velocity of the high urge chase in the communicatory to ignite the film from within, effectively creating a momentum through which she engages the audience and, similar to Hoppers 1969 feature, enters an incisive discourse to find out exactly where Mexicos head is at. This essay is an attempt to investigate Sin dejar huella within the context of the glocal3 focusing on the mise en scne and the characterisation of the protagonists, I entrust consider how aspects of the local, regional and global or the micro-meso-macro are pooled together to generate an image of contemporary Mexico. More specifically, I will analyse the c assisting roles of Ana and Aurelia and the development of camaraderie between the two initially polarised characters as they progress through their journey I will attempt to draw a correlatio n between the local and global influences they confront and are forced to adapt to, in particular from their positions as women living on the margins of Mexican lodge, and how this leads to a level of co-dependence and a purport for the formation of their relationship, interpreter of a creation of a new identity element in Mexico.Firstly, it is householdificant to consider the influences and reasons for Novaros interplay with the local and global in Sin dejar huella, and how they enable the film to explore aspects of globalisation in Mexico. Mexicos entry into NAFTA4in 1994 and President Salinas de Gortaris free-market policies led to a fall in national film production and distribution. Subsequently, agreements and alliances were established between Spanish and Mexican production companies in the late 1990s with the aim to fortalecer los lazos de coloboracin5 to locally produce films and television system programmes (where it would fork over been cheaper) and extend their reac h beyond the national, and towards regional and global markets. The preconditions of these agreements were to turn brook Mexicans and Spaniards at the level of twain cast and crew, generally in resemblance to the percentage of funding offered by each country6 fundamentally an obligatory interplay and exchange between the local and the global. Sin dejar huella was part of this new pother of outside(a) cinema production it was co-produced by Mexicos AltaVista Films and Spains Tornasol Films, and Aitana Snchez-Gijn a widely recognised Spanish-Italian and Hollywood film actress7 was cast as the female co-protagonist in the film.The representation of distinct upbringings and ways of life in Spain and Mexico are underlined through the mise-en-scne, characterisation, and the cooperation between the two protagonists in Sin dejar huella, which relate to the whim that the interplay between the local and the global stems from the preconditioned film production requirements and transn ational influences. From the outset of the narrative, the costume and the dilogos humorsticos8between Ana and Aurelia draw contiguous attention to their differing local and global consumer attitudes Ana wears luxury Western de firmer accessories, such(prenominal) as high-heeled sandals, a Longines watch and Gucci sunglasses which are emphasised in repeated medium frame talking head shots. Aurelia, conversely, wears cowboy boots relating to the traditional outfit of the Mexican vaquero and has neither heard of these global brands, nor recognises their monetary value she comically mistakes Gucci for Fuchi and exchanges the Longines watch for only enough money to debauch a telephone call-card. As the narrative progresses, it is significant to note that the women overlap and barter their clothes and accessories. The economic and information exchange between Spain and Mexico and the constitution of friendly ties between the two countries in the film production, and also represented in the on-screen local-global trade could in fact be a shaping and encouraging image of Mexicos entry into global economic activity.However, although the incorporation of Snchez-Gijn was a mere compliance with the conditions of co-producing, and the economic activity in the narrative representative of a modernised image of the Mexico-Spain film alliance, a close cinematographic analysis of the maturity of Ana and Aurelias relationship, and the shifting image of what it means to be a Mexican char would reveal that the interplay between the local and the global transcends these practical factors.The doll is a widely recognised and iconic type of the feminine ideal it is a beautifully constructed, motionless object that is win to gaze and adoration. In the opening ten minutes of Sin dejar huella both Ana and Aurelia break away from this anachronistic and illusory symbols of Mexican femininity in the physical destruction of doll statuettes for Ana it is a ceramic figure of genus D ama de Kolpec, una tejedora, figura de Jaina del periodo clasico maya9she was exporting as a replica Mayan artefact to the Museum of Denver, Colorado for Aurelia it is the bride figurine from her wedding cake and under which she had stashed cocaine for her narcotraficante boyfriend.Despite the physical outdoor of the figurines a bride and a weaver it is the interior of the figurines are the sources of their corruption that flip led them to embark on this quest the drugs and the forgery what the women have to recreate to/ the realities of life as a woman in Mexico despite the study and (what appears to be) a stable marriage life on the margins isand are the factors that have driven them to embark on this quest to find out that what is rattling contained within the dolls (for Ana it is a Mexican peso and in Aurelias case, drugs),end of what the doll represents and evocative of their search to find a new election definition of femininity in contemporary Mexico, albeit perch ance a downhearted and less defined image.This journey away from the expectations of womanhood that they have essentially been forced to conform to by default is exemplified in the road sign No hay retorno since there is effectively no turning back Ana and Aurelia had to break this image, showing almost a progressive image and a development.Before the women have even met each other in the narrative they are unitedThe physical destruction of the dolls as the towards achieving their liberation is representative of the journey these women will undertake as they continue through the journey across MexicoThis dichotomy the two women face between subserving the image and respite away to achieving exactly what they want, serves as a vehicle towards the formation of their friendly relationship and an establishment of their co-dependency. In every scene in which their friendship is highly-developed the fundamental human needs are brought to the forefront, despite the local-global differenc es that surround themWhen Aurelia witnesses Ana inebriation body of weewee from a public fountain, Aurelia is shocked and offers to buy her bottled water. It is ironic in their reversal of attitudes and financial steads Ana is the more globalised traveller, yet is faced with a situation in which she cannot pay for a basic human requirement, Aurelia, a woman who has grown up working in the sweat-shops of Northern Mexico ironically is aware of the problems of drinking tap-water. It is at this moment that a level of dependency arises from Ana onto Aurelia.This dependency that emerges is particularly significant in reference to Aurelias mocking explanation in the car Loz ezpaolez hablan az, emphasising the lisp common in Spanish speech, which draws attention to their global differences.This dependency is transformed into a friendship between the two women as witnessed at the Playa Paraso where a sign embedded in the sand which reads Slo se encuentran amigos aqu is focussed on and t he women subsequently bathe in the sea water. Their physical immersion into the water perhaps could be inferred as a religious imagery of soulfulness cleansing or baptism or the two women united by the water, a vital ingredient for life, and an element that is necessary for all regardless of their race or nationality. This visual imagery is significant in Novaros interplay between the local and the global because the sea is the factor that connects the local and the global, national and international altogether not solely in a conceptual appearance but also geographically.This concept of the connection between nations through water (*) is represented in the scene that motivates Aurelia to embark on the journey itself in which she watches a man (like Ana and Aurelia) take of his clothes and cross a river to El Paso, Texas.The notion of water as an immersing factor in representing the ability to cross / traverse across onto a new, better world is also what differentiates the women when confronted by borders each women reacts differently as a result of their upbringing and where they essentially originate from. Ana, as a globe-trotter, having lived, worked and loved in many countries confronts borders as a means of surviving financially she trades false Mayan artefacts to the Museum of Denver, America. Aurelia, conversely, views borders as a liberating factor a chance to improve her lifestyle and provide her children with the prospect for a better life.The relationships with men are significant factors that differentiate the womenAnas characterisation as a femme fatale as emphasised by the mise-en-scene in her dress is chased by a lecherous cop, Mendizabal he smells her pig and almost fetishises his search for her, and in fact his hunt for her is like him missing a foreign woman as a trophy to hang up. Ana is somewhat feared by men as a result of her gentility and her dress.Their relationship with menAna and Mendizabel goes beyond the femme fatale as he r costume would suggest she does not want to use her beauty, charm or sexual allure to catch MendizabelShe does however torture her lover denying confirmation of her affection and driving him to the point of obsession and exhaustion so that he is incapable of making rational decisions it ultimately leads to his death he is killed by the wrong personShe is in fact feared by MendizabalAurelia and BILLY AND JUANITO even her sexual relationship is with a 19year old boyHer relationship with men is reflected on to youth of mexico perhaps a progressive image of Mexico? Education of JuanitoSex scene he goes for her breasts nurturing motherAurelia is the madre coraje will risk anything for her children using the traditional methods of education, good-schooling ensuring change, Juanito holds strong moralityHeralclio Chuc progressive image of Mexico heading towards globalisation and a romanticised image of the historic vs. the irony of the indigenous culture liquid existing withi n the forces of global..Margins of society left out and the irony that they have tore-create their roots/ portray themselves as existing in the past attempt to regenerate their history (illegally)In an interview with Fernando Brenner, Novaro stated thatQuera mostrar un Mxico muy contrastante el sur y el norte. Y dos mujeres muy diferentes. Adems una de ellas tena que tener ms capacidad para ver a Mxico, precisamente por no ser mexicana. se fue mi punto de partida, y una sensacin que tengo no me siento mexicana en la zona Yucatn, como le pasa a muchos mexicanos, pues estamos en la regin maya. Y sea que esa vivencia, la de ser una extranjera en mi patria, convive con mi encanto por estar en mi pas.Foreign influence in MexicoRoad movie genre inexorably transculturalThe movement in the movie itself parallels this shifting image of Mexico hold out paragraph the image of a changing mexico isnt negative a progressive image of the change and that the foreign influence isnt always going to be negativeHowever, despite the fast-pace change of modernity/ global influence, there is still a level of humanity this doesnt change Ana steals the money but brings it back, mariachi ringing at the end she remembersSurvival basic human needs they run into in this respect because they both rely on each other/ are dependent on each other food, drinking, sleep