{"id":7824,"date":"2020-07-14T15:01:04","date_gmt":"2020-07-14T14:01:04","guid":{"rendered":"https:\/\/www.imex-revista.com\/xviii-coco-trump-era\/"},"modified":"2021-06-01T12:05:28","modified_gmt":"2021-06-01T11:05:28","slug":"xviii-coco-trump-era","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xviii-coco-trump-era\/","title":{"rendered":"XVIII. Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s Coco during the Trump Era"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/7807\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/7797\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Approaching Pixar\u2019s <em>Coco<\/em> during the Trump Era<br \/>\n<\/span><\/strong><strong><span style=\"color: #b0b0b0;\">(pp. 130-144; DOI: 10.23692\/iMex.18.9)<\/span><\/strong><\/p>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F8_SLV_Coco-during-Trump-Era_iMex18.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/8_SLV_Coco-during-Trump-Era_iMex18.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Prof. Dr. Sandra L. L\u00f3pez Varela<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-7818\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Sandra-Lopez-Varela_iMex18-204x300.png\" alt=\"\" width=\"150\" height=\"220\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Sandra-Lopez-Varela_iMex18-204x300.png 204w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Sandra-Lopez-Varela_iMex18.png 235w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Sandra L\u00f3pez Varela (PhD, University of London 1996, RPA 2005) is a Professor at the Faculty of Philosophy and Literature, Universidad Nacional Aut\u00f3noma de M\u00e9xico. Her research adopts a critical and analytical stance towards economic and development growth policies to combat poverty in Mexico, as these policies interfere with heritage preservation. Results from these investigations received the Friedrich Wilhelm Bessel-Forschungspreis award of the Alexander von Humboldt Foundation in 2012. Recently, she designed a mobile application for iOS and Android Devices, \u2018M\u00e9xico Alternativo\u2019, to preserve heritage resources within the built environment. Her most recent publications critically approach the construction of memory and identity based upon national and institutional discourses of heritage and ethnicity. She has served as President of the Society for Archaeological Sciences (2009\u20132011) and held the Archaeology Chair at the Executive Board of the American Anthropological Association (2012-2014).<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1532705295616-53d7d-8e03&#8243; tab_id=&#8221;1580125134478-0&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">An archaeology of media approach guides this analysis of the film <em>Coco<\/em>, a 3D animated fiction movie inspired by the Day of the Dead or <em>Dia de Los Muertos<\/em> in Mexico, and released by Pixar Animation Studios, a subsidiary of Walt Disney Studios, in 2017. In particular, I explore the tensions and contradictions within Pixar\u2019s most successful movie at the box office in taking a stand against Donald Trump\u2019s presentation of Mexicans as \u2018rapists and drug-trafficking criminals\u2019. I argue that this film, despite its praise by audiences and critics as a \u2018pro-Mexico\u2019 film, does ultimately not vindicate Mexico\u2019s \u2018good people\u2019. Instead, it promotes an institutionalized nationalist image of Mexico\u2019s heritage and identity, which goes back to the nineteenth century. Considering that Disney has the largest global market share in the film industry, Coco\u2019s director Lee Unkrich\u2019s good intentions to make this film \u2018right\u2019 help to disseminate and support the Mexican government in its reconstruction of an imagined sociocultural homogeneity, which marginalizes non-dominant ways of life in a culturally rich and diverse country.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1532705295639-33d7d-8e03&#8243; tab_id=&#8221;1580125134518-1&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">La arqueolog\u00eda de los medios de comunicaci\u00f3n es el marco de referencia para analizar la pel\u00edcula <em>Coco<\/em>, inspirada en la celebraci\u00f3n de D\u00eda de Muertos en M\u00e9xico y que fue lanzada por Pixar Animation Studios en 2017, una subsidiaria de Walt Disney Studios. Las siguientes p\u00e1ginas analizan las tensiones y contradicciones dentro de esta pel\u00edcula taquillera que seg\u00fan su audiencia y la cr\u00edtica cinematogr\u00e1fica, desaf\u00eda los dichos de Donald Trump durante su campa\u00f1a presidencial en 2015, quien llam\u00f3 a los mexicanos a violadores y delincuentes que traen drogas al cruzar la frontera. Esta elogiada pel\u00edcula a favor de M\u00e9xico, no reivindica a la \u2018buena gente\u2019 de M\u00e9xico. La pel\u00edcula promueve una imagen nacionalista e institucionalizada del patrimonio y la identidad mexicana cuyos or\u00edgenes remontan al siglo XIX. Dado que \u2018Disney\u2019 domina la industria cinematogr\u00e1fica, las buenas intenciones de su director Lee Unkrich de enaltecer a la cultura mexicana, como se analiza en este art\u00edculo, mas bien apoyan la ideolog\u00eda del estado detr\u00e1s de la conformaci\u00f3n de una ciudadan\u00eda homog\u00e9nea y ocultan las formas de vida no dominantes de un pa\u00eds culturalmente rico y diverso.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b018 | US-Mexican Encounters in Contemporary Film&#8221; id=&#8221;1532705295697-43d7d-8e03&#8243; tab_id=&#8221;1580125134563-4&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Guido Rings \/ Stephen Trinder \u2013 Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Articles<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-poetica-contra-politica\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>C\u00e9cile Brochard \/ Oscar Torres \u2013 Po\u00e9tica contra pol\u00edtica<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-trump-politics-of-fear\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Douglas E. Forster \u2013 Trump\u2019s Politics of Fear<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-sicario-films\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>James Shelton \u2013 Narrative and the \u2018Norteamericano\u2019 in the Sicario Films<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-contested-border-crossings\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Lara Lengel \/ Victoria A. Newsom \u2013 Contested Border Crossings<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-trumps-rhetoric-influence\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Erica Berzaghi \/ Frank O\u2019Sullivan \u2013 Trump\u2019s Rhetoric Influence<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-the-river-and-the-wall\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Martina Moeller \u2013 Politics in <em>The River and The Wall<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-re-animating-mexicanidad\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Jessica Wax-Edwards \u2013 Re-Animating Mexicanidad<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-coco-trump-era\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s <em>Coco <\/em>during the Trump Era<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-resenas\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Review<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":13221,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,1570,1577],"tags":[1565,1569],"class_list":["post-7824","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-xviii-encuentros-estadounidenses-mexicanos-en","category-xviii-us-mexican-encounters","tag-coco","tag-media-archaeology"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XVIII. Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s Coco during the Trump Era - iMex Revista<\/title>\n<meta name=\"description\" content=\"iMex XVIII. US-Mexican encounters | Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s Coco during the Trump Era | DOI: 10.23692\/iMex.18.9\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-coco-trump-era\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"XVIII. Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s Coco during the Trump Era - iMex Revista\" \/>\n<meta property=\"og:description\" content=\"iMex XVIII. US-Mexican encounters | Sandra L. 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