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Abstract
Mexican director, Carlos Carrera, employs names in El crimen del Padre Amaro (2002) to illuminate the complex internal struggles of key characters as well as the power struggles between them. Names in the film also expose contemporary moral and religious dilemmas in Mexican society. The film is based on a nineteenth-century Portuguese novel of the same name. This investigation discusses the way in which nomenclature in the modern cinematic work reveals clues about individual transgressions as well as larger societal and institutional corruption that determine the fate of the characters and the parish where the story takes place.
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Notes on contributors
April D. Marshall
April D. Marshall (b. 1974) is Chair of International Studies and Languages at Pepperdine University, Malibu, CA 90263. Her principal research interests are Latin American literature and culture, disease metaphors in literature, and popular culture and disease. Her most recent publication is “‘Onomastic Emphasis’ in Julia Álvarez’s Saving the World,” Names 57.4 (2009): 229–235.