Editing Our Lady of Guadalupe (section)

== In popular culture ==
===Literature and film===
[[File:Tepeyac (versión restaurada).webm|thumb|thumbtime=30:23|''Tepeyac'' from 1917 is the oldest movie about the aparitions of Guadalupe]]
One notable reference in literature to the image and its alleged predecessor, the Aztec Earth goddess [[Tonantzin]], is in Sandra Cisneros' short story "Little Miracles, Kept Promises", from her collection ''Woman Hollering Creek and Other Stories'' (1991). Cisneros' story is constructed out of brief notes that people give Our Lady of Guadalupe in thanks for favors received, which in Cisneros' hands becomes a portrait of an extended Chicano community living throughout Texas. "Little Miracles" ends with an extended narrative (pp.&nbsp;124–129) of a feminist artist, Rosario "Chayo" de León, who at first did not allow images of La Virgen de Guadalupe in her home because she associated her with subservience and suffering, particularly by Mexican women. But when she learns that Guadalupe's shrine is built on the same hill in Mexico City that had a shrine to Tonantzin, the Aztec Earth goddess and serpent destroyer, Chayo comes to understand that there's a deep, syncretic connection between the Aztec goddess and the Mexican saint; together they inspire Chayo's new artistic creativity, inner strength, and independence. In Chayo's words, "I finally understood who you are. No longer Mary the mild, but our mother Tonantzin. Your church at Tepeyac built on the site of her temple" (128).<ref>Cisneros, Sandra.  "Little Miracles, Kept Promises."  ''Woman Hollering Creed and Other Stories''.  New York: Random House, 1991. 116–129.</ref>
The image and its alleged apparition was investigated several times, including in the 2013 documentary ''The Blood & The Rose'', directed by Tim Watkins.<ref>{{IMDb title|qid=Q127689082|title=The Blood & the Rose}}</ref>

===Visual arts===
[[File:Virgen de Guadalupe mirando de frente.jpg|thumb|200x200px|Digital recreation of the face of Our Lady of Guadalupe, by Anthropologist Miguel Angel Omaña Rojas (2021).]]
[[File:Retablo final, Francisco Díaz de León, 1928.jpg|thumb|''Retablo final'' by Francisco Díaz de León, 1928]]
Drawing on the significance of Our Lady of Guadalupe in Chicano culture, many Chicano artists revere her image and visually reimagine the religious figure within a feminist and contemporary context.<ref>Lara, Irene. 2008. “Tonanlupanisma: Re-Membering Tonantzin-Guadalupe in Chicana Visual Art.” ''Aztlán'' 33(2): 61–90.</ref><ref>Román-Odio, Clara. ''Sacred Iconographies in Chicana Cultural Productions''. 1st ed. New York, NY: Palgrave Macmillan, 2013. Print.</ref><ref name=":2">Pérez, Laura Elisa. ''Chicana Art : the Politics of Spiritual and Aesthetic Altarities''. Durham: Duke University Press, 2007. Print.</ref> More than just a religious symbol, Chicano artists view Our Lady of Guadalupe as an empowering feminist icon and a proclamation of Indigenous pride. However, these re-envisioned artworks have not been without controversy, as many artists have faced intense backlash from Catholic groups who view these artworks as "disrespectful and irreverent".<ref>{{Cite web |last=Walker |first=Hollis |date=April 4, 2001 |title=Depiction of the Virgin of Guadalupe Stirs Objections |url=https://www.latimes.com/archives/la-xpm-2001-apr-04-ca-46460-story.html |access-date=August 3, 2023 |website=Los Angeles Times |language=en-US}}</ref> One of the most famous controversies was sparked by [[Alma López|Alma López's]] ''Our Lady'' digital collage, which later led to a book titled ''Our Lady of Controversy: Alma López's Irreverent Apparition''.<ref>Gaspar de Alba, Alicia, Alma López, and Alma Lopez. 2011. ''Our Lady of Controversy: Alma López's Irreverent Apparition''. Austin: University of Texas Press.</ref><ref>{{Cite web |date=December 12, 2016 |title=Our Lady of Guadalupe is a powerful symbol of Mexican identity |url=https://www.nbcnews.com/news/latino/our-lady-guadalupe-powerful-symbol-mexican-identity-n694216 |access-date=August 3, 2023 |website=NBC News |language=en|author-first1=Raul A. |author-last1=Reyes}}</ref> Despite this, Chicano artists such as [[Yolanda López]], [[Alma López]],  [[Margarita “Mita” Cuaron|Margarita 'Mita' Cuaron]], [[Ester Hernandez|Ester Hernández]], and [[Consuelo Jimenez Underwood]], among others, have used Our Lady of Guadalupe's portrait to explore themes of repression, feminine strength, and to uplift women.<ref>Blackwell, Maylei. “WOMEN WHO MAKE THEIR OWN WORLDS: THE LIFE AND WORK OF ESTER HERNÁNDEZ.” ''Chicana Movidas: New Narratives of Activism and Feminism in the Movement Era'', edited by Dionne Espinoza et al., University of Texas Press, 2018, pp. 138–58. ''JSTOR'', http://www.jstor.org/stable/10.7560/315583.11 .</ref><ref>LaDuke, Betty. “Yolanda Lopez: Breaking Chicana Stereotypes.” ''Feminist Studies'' 20, no. 1 (1994): 117–30. {{doi|10.2307/3178436}}.</ref>