La Rosa Blanca sobre el féretro de un suicida (pp. 1-22; DOI: 10.23692/Articulos_iMex1.1_1)
Dr. Humberto Ortega-Villaseñor
Humberto Ortega Villaseñor is a Mexican senior professor and a research fellow at the University of Guadalajara (UdG) since 1989. After receiving his Bachelor of Law degree in 1975 at the National Autonomous University of Mexico (UNAM), Villaseñor continued his Master’s studies at the University of London in Great Britain and finished his PhD at UNAM in Mexico (1982). Humberto has published five books [entitled The Chinese and Maya (2008), Towards a Multicultural Nation, a Study of Linkage to Preserve the Richness and Cultural Diversity of Mexico in the Future (2010), Beyond Dialogue. A Case Study of Blended Learning (2013); Dark Matter. Exports of Mexican Crude Oil (1982-1988); Historical Study and Prospective Balance (2017)]; and Word and Image, an Interdisciplinary Relationship Study (2017). He has also coordinated a collective book, The Means of the Future: Between Conditional Freedom and the Search for Truth
(2018), in which researchers from University of Guadalajara, Mexico and the Constantine the Philosopher University in Nitra, Slovakia participated. His focus of interest covers various fields of social sciences and humanities related primarily to philosophy, communication, art and culture. His papers and essays have been published in indexed international Journals of (Argentina, Brazil, Canada, Chile, China, Colombia, Italy, Perú, Polonia, Slovakia, Slovenia, Spain, the United States, Taiwan, etc.). Also in Mexican periodicals, in national newspapers and other contemporary outreach media.
As a member of the Department of Literary Studies since 2003, Humberto has concentrated his efforts on investigating the links between plastic and literary creativity from a scientific perspective He is a PRODEP Profile, Member of the Academic Board of the Humanities Postgraduate Programme, Member of the National System of Researchers of Mexico (Level I), of the Consolidated Academic Body UDG-CA-595: Analysis and History of cinema, genres, styles and relationships with others arts, and various Associations, Research Projects and International Networks. Finally, it is worth mentioning that Ortega-Villaseñor is also a plastic artist (website: http://www.hov-art.com.mx/). He has had numerous individual exhibitions in Mexico, the United States and Europe since 1975. He has participated in various collective expositions as well organized in Mexico and abroad. Some of Humberto’s works have been selected by funds, cultural organizations and foreign Museums to become part of their collections. There are some corporations and private collectors of his plastic works who track his steps.
Main components of form and background of the Mexican film La Rosa Blanca directed by Roberto Gavaldón in 1961 are reviewed in this research. The article seeks to explore the nature and identity of its intermedial argument, and determine how such a simple and remote realization in time (the story is located in 1937), can help us make analogies and collect important events for today’s Mexico. It is a work of well-integrated Mexican cinematography, of high symbolic and polysemic value, whose anticipatory weight seems remarkable to us: a genuine asset for historical memory and for making objective and pertinent correspondences. On the one hand, it reveals plausible transnational strategies put into play for the seizure of a resource such as oil; on the other, it allows us to infer the collusion of economic and political interests that derive from bribery, conflict of interests and the derogatory and submissive role of the country’s natural resources by the current political class. From La Rosa Blanca it is possible to find regrettable parallelisms and to evaluate the very serious historical regression that privatization of oil in Mexico meant, under the mortuary mantle of the so-called energy reform.
Se revisan los principales componentes de fondo y forma de la película mexicana La Rosa Blanca dirigida por Roberto Gavaldón en 1961. El artículo busca explorar la identidad y el carácter intermedial de su argumento, y determinar cómo una realización tan sencilla y remota en el tiempo (la historia se ubica en 1937), puede ayudarnos a hacer analogías y colegir eventos importantísimos para el México de hoy. Se trata de una obra de la cinematografía mexicana bien integrada, de un elevado valor simbólico y polisémico, cuyo peso anticipatorio nos parece notable: un activo genuino para la memoria histórica y para hacer correspondencias objetivas y pertinentes. Por un lado, deja entrever estrategias plausibles trasnacionales puestas en juego para el apoderamiento de un recurso como el petróleo; por otro, permite inferir la colusión de intereses económicos y políticos que derivan del soborno, el conflicto de intereses y el papel denigrante y entreguista de los recursos naturales del país por parte de la clase política actual. A partir de La Rosa Blanca es posible encontrar paralelismos lamentables y aquilatar la gravísima regresión histórica que ha significado la privatización del petróleo en México, bajo el manto mortuorio de la llamada reforma energética.