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Journal articles on the topic 'Mexican film'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Arredondo, Isabel. ""Teníía brííos y, aúún vieja, los sigo teniendo": entrevista a Matilde Landeta." Mexican Studies/Estudios Mexicanos 18, no. 1 (2002): 189–204. http://dx.doi.org/10.1525/msem.2002.18.1.189.

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The interview with filmmaker Matilde Landeta (1910––1999) shows that moving up within the film union was conditioned by gender, and that such advancement was contingent upon the alliance or competition between the Mexican and North-American film industries. The interview also shows that in her films Landeta interpreted the Mexican meta-narratives, such as the Conquest, the Mexican Revolution and the Life of the Modern City, from a feminine point of view. Thus both Landeta's career and her filmic perspectives reflected her gendered position in the industry. La entrevista con la cineasta mexicana Matilde Landeta (1910-1999) muestra que, durante los añños cuarenta en Mééxico, el ser hombre o mujer afectaba la políítica de ascenso dentro del sindicato de cine y que dicha políítica dependíía, a su vez, de la alianza o competencia entre las industrias de cine mexicana y norteamericana. La entrevista tambiéén prueba que, en sus pelíículas, Landeta interpretóó las metanarrativas mexicanas de la Conquista, la Revolucióón mexicana y la vida urbana moderna desde una perspectiva femenina. Por consiguiente, tanto su carrera como sus perspectivas fíílmicas revelan su posicióón de mujer dentro de la industria.

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2

Alfaro-Velcamp, Theresa. "“Reelizing” Arab and Jewish Ethnicity in Mexican Film." Americas 63, no. 2 (October 2006): 261–80. http://dx.doi.org/10.1017/s0003161500063008.

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As a historian of Mexican history who studies Middle Eastern immigrants to Mexico in the late nineteenth and twentieth centuries, I have approached the topic of ethnic film with both trepidation and great interest. Attuned to the historiography of what and who is Mexican, I view the filmsEl baisano JalilandNovia que te veafor their representations of ethnic difference and suggestions of a multicultural Mexico. Here, I wish to explore how these films not only show the presence of immigrant groups in the cultural fabric of Mexico, but also how the films demonstrate that public discourses (via film) can enhance scholarly understanding of multiculturalism. My purpose is to make a discrete intervention in Mexican historiography by underscoring the importance of film in conceptualizing the dimensions of ethnic identity. I suggest that these films are rooted in a particular Mexican social context in which both Arab and Jewish immigrants have been able to manipulate the ambiguities of what it means to be Mexican.

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3

Nahmad Rodríguez, Ana Daniela. "Mexicans in Nicaragua: Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM)." Studies in Spanish & Latin-American Cinemas 17, no. 2 (June 1, 2020): 233–51. http://dx.doi.org/10.1386/slac_00020_1.

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Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC) of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).

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4

Aguilar-Sánchez, Rocio, Ricardo Munguía-Pérez, Fatima Reyes-Jurado, Addí Rhode Navarro-Cruz, Teresa Soledad Cid-Pérez, Paola Hernández-Carranza, Silvia del Carmen Beristain-Bauza, Carlos Enrique Ochoa-Velasco, and Raúl Avila-Sosa. "Structural, Physical, and Antifungal Characterization of Starch Edible Films Added with Nanocomposites and Mexican Oregano (Lippia berlandieri Schauer) Essential Oil." Molecules 24, no. 12 (June 25, 2019): 2340. http://dx.doi.org/10.3390/molecules24122340.

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The aim of this study was to evaluate the structural, physical, and antifungal characteristics of starch edible films added with nanocomposites and Mexican oregano (Lippia berlandieri Schauer) essential oil (EO). Starch edible films were formulated with Mexican oregano EO (0%, 1%, or 2% v/v) and bentonite or halloysite (2%). Physical properties such as L* (luminosity), hue, film thickness, and O2 and CO2 permeability were determined. Structural analysis was carried out via atomic force microscopy (AFM). Antifungal activity against Aspergillus niger, Fusarium spp., and Rhizopus spp. was evaluated. The addition of EO and nanocomposites reduced luminosity, providing color to the edible films. Film thickness increased through the addition of EO concentration. O2 and CO2 permeability was increased by bentonite/EO films, and for halloysite films, CO2 permeability decreased as EO concentration increased. The addition of EO with both nanocomposites shows an evident morphological change in film structure, decreasing pore density and increasing pore size. In general, Mexican oregano EO added to edible starch films has an adequate fungicidal effect. The most sensitive microorganism tested was A. niger. Edible films added with Mexican oregano EO and nanocomposites show better physical and antifungal properties due to an adequate structural change in the biopolymer matrix.

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5

Flores, Silvana. "Vínculos transnacionales entre México y Estados Unidos: la figura de José U. Calderón en la transición al cine sonoro /Transnational links between Mexico and United States: the figure of José U. Calderón in the transition to sound cinema." Kamchatka. Revista de análisis cultural., no. 10 (December 29, 2017): 513. http://dx.doi.org/10.7203/kam.10.10821.

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Resumen: Proponemos indagar un aspecto de la cinematografía mexicana que ha tenido poca difusión en la historiografía sobre el cine de ese país: las actividades realizadas por el empresario mexicano José U. Calderón en relación a sus conexiones con Estados Unidos, en pos de las experimentaciones que signaron al período inicial del cine sonoro, que incluyeron la expansión de los cines nacionales tanto internamente como en el mercado exterior por medio de la distribución y exhibición de films. Para ello, se desglosarán diferentes aspectos que Calderón ha logrado desarrollar dando como resultado una expansión de la cinematografía mexicana de características transnacionales, como la experimentación técnica, la fundación de empresas de distribución, exhibición y producción, la contratación de artistas y el empleo de géneros como el musical y el melodrama. Dichos aspectos serán trabajados en función de los intercambios comerciales y estético-narrativos que se dieron entre México y Estados Unidos en ese período. Palabras clave: Calderón, transnacional, cine sonoro, México, Estados Unidos. Abstract: We propose to inquire an aspect of Mexican cinema that had very little diffusion in the historiography of the cinema of that country: the activities of Mexican entrepreneur José U. Calderón and his connections with United States in pursuit of experiments that marked the beginning of sound cinema, that included the expansion of national cinemas inside and outside through film distribution and exhibition. For that purpose, we will develop different aspects that Calderón achieved resulting in an expansion of Mexican cinema into the transnational, as technical experimentation, the foundation of distribution, exhibition and production enterprises, the recruiting of artists and the uses of genres as musical and melodrama. Those aspects will be worked taking into account the commercial and aesthetic-narrative exchanges made between Mexico and United States during that period. Keywords: Calderón, transnational, sound cinema, Mexico, United States.

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6

Lozano-Rendón, José Carlos. "Foreign film and television consumption and appropriation by Latin American audiences." Comunicar 15, no. 30 (March 1, 2008): 67–72. http://dx.doi.org/10.3916/c30-2008-01-010.

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Empirical research on patterns of consumption and appropriation of foreign television and film on Mexican audiences in particular, and Latin American audiences in general, are scarce despite the long tradition of cultural imperialism and supply of foreign content studies. This article discusses the tendency of Latin American culturalists to avoid the study of the ideological readings of foreign audiovisual messages, and reviews the relevance of proposals like «cultural proximity» as a tool for understanding Mexican and Latin American audience’s patterns of television consumption.Los estudios empíricos de recepción sobre los patrones de consumo y apropiación de cine y televisión extranjera por parte de las audiencias mexicanas, en particular, y latinoamericanas, en general, son casi inexistentes a pesar de la larga tradición del imperialismo cultural y los diagnósticos de oferta que han proliferado en los últimos años. Este artículo discute la tendencia de los culturalistas latinoamericanos a no estudiar directamente las lecturas ideológicas de los mensajes audiovisuales extranjeros, y revisa la utilidad de propuestas como la de la «proximidad cultural» en tanto herramientas para entender los patrones de consumo televisivo de las audiencias mexicanas y de América Latina en general.

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7

Cohen, Jeffrey H. "Where do they go? “A day without a Mexican,” a perspective from south of the border." MIGRATION LETTERS 3, no. 1 (April 16, 2006): 77–86. http://dx.doi.org/10.33182/ml.v3i1.33.

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The author uses the film “A day without a Mexican” to explore Mexican-US migration and to examine current US policy on immigration and in particular, US attitudes toward undocumented Mexican migrant workers.

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8

Smith, Paul Julian. "Festival Special: Morelia, Mexico." Film Quarterly 63, no. 3 (2010): 18–22. http://dx.doi.org/10.1525/fq.2010.63.3.18.

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A report from the 2009 Morelia Film Festival, in the Mexican state of Michoacáán. Three themes recurred in the films screened: the murderous legacy of the past, present-day anxiety, and pastoralism——which converge in Juliáán Hernáández's outstanding Enraged Sun, Enraged Sky.

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9

Miller, Cynthia J. "Cinemachismo: Masculinity and Sexuality in Mexican Film." History: Reviews of New Books 34, no. 4 (July 2006): 116–17. http://dx.doi.org/10.1080/03612759.2006.10526926.

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10

González Sandoval, Dulce C., Brenda Luna Sosa, Guillermo Cristian Guadalupe Martínez-Ávila, Humberto Rodríguez Fuentes, Victor H. Avendaño Abarca, and Romeo Rojas. "Formulation and Characterization of Edible Films Based on Organic Mucilage from Mexican Opuntia ficus-indica." Coatings 9, no. 8 (August 9, 2019): 506. http://dx.doi.org/10.3390/coatings9080506.

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The consumption of organic products has increased in recent years. One of the most important products in Mexico is nopal. Nopal’s content and properties make the formulation of edible films possible. In this study, we aimed to develop and characterize biodegradable edible films containing mucilage from Opuntia ficus-indica. The mucilage extraction yield, thickness, color, water vapor permeability, light transmission rate, film transparency, solubility, stability of dispersion, and puncture strength were measured. The use of mucilage from different cultivars affected the water vapor permeability (8.40 × 10−11 g·m−1·s−1·Pa−1 for cultivar Villanueva, 3.48 × 10−11 g·m−1·s−1·Pa−1 for Jalpa, and 1.63 × 10−11 g·m−1·s−1·Pa−1 for Copena F1). Jalpa provided the most soluble mucilage with the highest thickness (0.105 mm). Copena F1 provided the clearest film with the greatest transparency (3.81), the best yellowness index, and the highest resistance (4.44 N·mm−1). Furthermore, this film had the best light transmission rate (48.93%). The Copena F1 showed the best film formation solution viscosity. These results indicate that mucilage mixed with pectin is a potential source for the formulation of edible films.

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11

Johnson, William. "Between Daylight and Darkness: Forever and Silent Light." Film Quarterly 61, no. 3 (2008): 18–23. http://dx.doi.org/10.1525/fq.2008.61.3.18.

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Abstract This comparative essay deals with two films, Forever (a documentary about the Pèère Lachaise cemetery in Paris directed by Heddy Honigman), and Silent Light (a fiction film set among Mexican Mennonites, and featuring a non-professional cast directed by Carlos Reygadas), both of which focus on love and death.

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12

Miller, Michael T., and James Batcho. "Allowing the Fly to Leave: The Chance Meeting of Wittgenstein and Buñuel at a Mexican Dinner Table." Film-Philosophy 22, no. 3 (October 2018): 384–405. http://dx.doi.org/10.3366/film.2018.0086.

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Within Luis Buñuel's classic surrealist film The Exterminating Angel (El ángel exterminador, 1962) is a philosophical motif which expresses, demonstrates, and develops two of Ludwig Wittgenstein's central concepts: (1) language lays traps for the unwary that can lead to illogical thought and mind-bending quests; and (2) any picture of the world (Weltbild) is formed through cultural habits that cannot be rationally expressed but can be changed. This article argues that what we find in Buñuel's Angel is a “picture” that is at one level rational and habitual and at another entirely absurd. These apparently rational preconceptions – the insular habits of privilege and the language that maintains it – produce a certain “aspect” which, when clung to, can entrap us. In this effort we thread a series of chance meetings into a web of encounters: of people at a dinner party, of a philosopher and a filmmaker, and perhaps most significantly, of games that form a totality of gamesmanship – a chance meeting of the game of language and the game of cinema.

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13

Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.

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FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer films is emerging that may be premature in rejecting the political and artistic radicalism of earlier Mexican queer cinema. The great virtue of these new queer films, however, is that they aim to connect with an audience beyond the art house that needs—in these changing, challenging times—to see this newly visible community represented on the big screen.

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14

KANTARIS, GEOFFREY. "Cinema andUrbanías: Translocal Identities in Contemporary Mexican Film." Bulletin of Latin American Research 25, no. 4 (September 19, 2006): 517–27. http://dx.doi.org/10.1111/j.1470-9856.2006.209_4.x.

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15

Gunckel, Colin. "Interview with Viviana García-Besné." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 415–22. http://dx.doi.org/10.1386/slac_00007_1.

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In this interview, filmmaker and archivist Viviana García-Besné discusses her work as the founder of the Permanencia Voluntaria archive and the Baticine microcinema in Tepoztlán, Mexico. As the descendent of a family involved in various areas of the Mexican film industry since the early twentieth century, García-Besné has become an advocate for Mexican popular cinema that has long been dismissed by critics and institutions adopting class-based conceptions of cultural value and ‘quality’ cinema. Accordingly, the central mission of Permanencia Voluntaria includes both restoring films produced by her family and advocating for increased appreciation and institutional support for popular cinema and the audiences who enjoy it.

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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 2 (2017): 72–77. http://dx.doi.org/10.1525/fq.2017.71.2.72.

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The seventh edition of the Statistical Yearbook of Mexican Cinema, which covers 2016, was launched at the Guadalajara International Film Festival by IMCINE (Instituto Méxicano de Cinematografía), the national film institute. Some months later the eleventh edition of the Ibero-American Observatory of Television Fiction, also devoted to 2016, was presented by international research group OBITEL (Ibero-American Observatory of Television Fiction) at the Autonomous University of Barcelona. Both surveys compile exhaustive quantitative data and track qualitative trends in their respective media. This year, the pair offer invaluable evidence for evolution and convergence in the Mexican (and Spanish American) audiovisual field, thereby providing an account of the most important trends. Sometimes the findings can be counterintuitive, proving for example that (contrary to industry complaints) the Mexican government does indeed strongly support cinema and that (contrary to journalistic rumors of its demise) broadcast television is by no means dead in the region. But the handbooks also provide essential context for Netflix's first production in Mexico — and one of the most important and innovative series of recent years — the soccer comedy, Club de Cuervos ([Crows Club], 2015–). In keeping with this changing scene, OBITEL focused its case study of transmedia on Netflix's limited series Club de Cuervos. As noted in the handbook, the producers' aim was to avoid “telenovelizing” its content. Club de Cuervos exemplifies the trends seen in current Mexican film and television production, even as it blurs the distinction between the two in typical Netflix fashion. Mexican industry insiders still resent the U.S. domination of film distribution in theaters, and Club de Cuervos raises those stakes.

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17

Heath, C. V. "Making Cinelandia: American Films and Mexican Film Culture before the Golden Age." Hispanic American Historical Review 95, no. 2 (January 1, 2015): 389–91. http://dx.doi.org/10.1215/00182168-2874899.

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Anderson, M. L. "Making Cinelandia: American Films and Mexican Film Culture before the Golden Age." Journal of American History 102, no. 1 (June 1, 2015): 277–78. http://dx.doi.org/10.1093/jahist/jav177.

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Smith, Paul Julian. "Screenings." Film Quarterly 72, no. 4 (2019): 74–78. http://dx.doi.org/10.1525/fq.2019.72.4.74.

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FQ Columnist Paul Julian Smith discusses the Mexican limited series, Malinche, which tracks the Spanish conquest of Mexico and destruction of the Mexica (Aztec) Empire from the perspective of the conquistador Hernán Cortés's interpreter, the indigenous woman Malinche. He explains how the series differs from other televisual accounts of the conquest of Mexico in both its emphasis on the domestic lives of women and its use of multiple indigenous languages. He concludes by comparing the series to a recent film about the colonial experience by another Latin American female director—Zama by Lucrecia Martel.

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20

Michel Modenessi, Alfredo. "Looking for Mr GoodWill in “Rancho Grande” and Beyond: The ‘Ghostly’ Presence of Shakespeare in Mexican Cinema." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 97. http://dx.doi.org/10.14198/raei.2012.25.08.

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The Perhaps as an outcome of the “globalization” of Shakespeare studies, the film Huapango (dir. Iván Lipkies, 2003), avowedly based on Othello, seems to be drawing attention from scholars world-wide far more quickly and productively than the only other movie unabashedly adapted from a Shakespeare play in Mexican cinema: Cantinflas’s Romeo y Julieta (dir. Miguel M. Delgado, 1943). Although in Mexico these two pictures still stand alone in deriving integrally from a Shakespeare play, they are not, of course, the sole cases in Spanish-speaking cinema, where over the years a handful of films have been made with similar premises. All of them share a simple but potentially revealing feature, however: so far, no Spanish-speaking film made from Shakespeare can be deemed a “straightforward” performance/translation of its source. Nonetheless, films that ‘reset’, ‘cite’, or somehow ‘ex/ap-propriate’ Shakespeare are not wanting in Mexico. After briefly revisiting points I have made elsewhere on the two aforementioned pictures, this mostly descriptive paper* will aim to identify the “actual” or “ghostly” “presence” of Shakespeare in three films made at diverse stages in the history of Mexican cinema: Enamorada (dir. Emilio Fernández, 1946), El charro y la dama (dir. Fernando Cortés, 1949), and Amar te duele (dir. Fernando Sariñana, 2002).

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Lozano, José Carlos. "Film at the border: Memories of cinemagoing in Laredo, Texas." Memory Studies 10, no. 1 (January 2017): 35–48. http://dx.doi.org/10.1177/1750698016670787.

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This article addresses the memories of 28 filmgoers between the ages of 64 and 95 in Laredo, Texas – a city located on the border between the United States and Mexico. It explores respondents’ memories of US and Mexican films, actors and local venues against the historical background of a fluid and complex border. In particular, it examines the negotiation of cultural identities among residents with strong connections to Mexican heritage but who are also influenced by the structural characteristics of the American political, economic and educational systems.

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22

Burton, Julianne. "Review: Pedro and the Captain by Juan E. Garcia, Pedro Torres Castilla." Film Quarterly 39, no. 1 (1985): 30–32. http://dx.doi.org/10.2307/1212279.

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Lozano, José-Carlos. "Consumption of US television and films in Northeastern Mexico." International Communication Gazette 73, no. 8 (December 2011): 685–705. http://dx.doi.org/10.1177/1748048511420093.

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This article explores the consumption patterns of local and foreign film and television content of Mexican audiences living in the Northeast region of the country, a region bordering with the United States. Based on telephone surveys in four of the largest cities in the area (Reynosa, Monterrey, Saltillo and Torreón), the study presents data about television consumption that suggest that cultural proximity factors are stronger in Mexican northerners than their geographical, commercial and historical proximity to the US. The concept of cultural discount seems to apply in this part of Mexico, due to the differences in language, practices and traditions despite the proximity and familiarity with US culture (except in the case of Hollywood films, as in many other countries in the world).

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24

Villenas, Sofia Anna. "The Image of the Border in Popular Mexican Film." Visual Anthropology Review 5, no. 2 (September 28, 2010): 16–17. http://dx.doi.org/10.1525/var.1989.5.2.16.

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25

Hind, Emily. "Starring Pirates: Metaphors for Understanding Recent Popular Mexican Film." Journal of Popular Film and Television 41, no. 4 (October 2013): 196–207. http://dx.doi.org/10.1080/01956051.2013.771606.

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McGovern, Timothy Michael. "Visions of Mexican Cinema and the Queer Film Script." Discourse 26, no. 1 (2004): 127–47. http://dx.doi.org/10.1353/dis.2005.0018.

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García Blizzard, Monica. "Framing indigeneity in early ethnographic Mexican film: An analysis of Peregrinación a Chalma/Pilgrimage to Chalma (Díaz Ordaz 1922)." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 311–30. http://dx.doi.org/10.1386/slac_00024_1.

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This article approaches the exhibition of indigeneity in the early Mexican ethnographic film Peregrinación a Chalma / Pilgrimage to Chalma (Díaz Ordaz 1922) as a simultaneous display of criollo/mestizo hegemonic culture and institutions. As a product of the Mexican anthropological establishment at an early moment of the discipline’s investment in post-revolutionary indigenismo and mestizaje, the film participates in the endeavour to document and disseminate aspects of indigenous culture and the will to affirm the existence of a modern, non-indigenous Mexican identity. Through filmic analysis, the article illustrates how the film’s use of the stylistic conventions of the classical ethnographic mode creates a distanced rendering of Indigenous people that elevates the criollo/mestizo perspective and casts its representatives as the official curators of and modern foils to indigeneity. Furthermore, through its textual and stylistic conventions, Peregrinación a Chalma positions the spectator to view indigeneity from the position of hegemonic criollo/mestizo culture, aligning the spectator with the cultural perspective that presents itself as dominant and authoritative. The spectatorial positionality crafted by the film is in tune with the modernizing and homogenizing aims of indigenismo and mestizaje in the early post-revolutionary period.

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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.

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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.

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Gunckel, Colin. "The Permanencia Voluntaria archive and the historical study of Mexican cinema." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 383–401. http://dx.doi.org/10.1386/slac_00005_1.

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This article provides an overview of the archival materials held at the Permanencia Voluntaria collection in Tepoztlán, Mexico. Focusing on the documents of the production company Cinematográfica Calderón, in operation from the late 1930s to the 1990s, the article makes a case for using such material to construct critical industrial histories of Mexican cinema. Drawing on concepts from media industry studies, the article examines three intertwined aspects of the production company’s operations during the 1950s and 1960s: marketing, censorship negotiations and transnational distribution. Accordingly, it proposes that these factors be placed in conversation with cinematic texts as a way of reconsidering the place of the nation in Mexican film studies, expanding the objects of analysis in this field and re-evaluating a period of film history whose significance has largely remained overlooked.

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Gustafson, Reid. "Serna, Laura IsabelMaking Cinelandia: American Films and Mexican Film Culture before the Golden Age." History: Reviews of New Books 43, no. 4 (September 4, 2015): 143–44. http://dx.doi.org/10.1080/03612759.2015.1032727.

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31

Myers, Kathleen Ann. "An Archeology of Mexican Modernity." Mexican Studies/Estudios Mexicanos 37, no. 2 (2021): 232–62. http://dx.doi.org/10.1525/msem.2021.37.2.232.

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Cultural analysts have noted similarities between Alfonso Cuarón’s Colonia Roma and José Emilio Pacheco’s Colonia Roma, depicted twenty years earlier in his best-selling novel Las batallas en el desierto (1981). But no one has examined how Pacheco’s work studies the emerging relationship between modernization and the racialization of space, which Cuarón’s film Roma later captured for a global audience. Pacheco’s depictions of a spatialized interaction between social classes in mid-twentieth-century Colonia Roma, I argue, offer an archeology of space, race, class, and modernity that attempts to counteract forces of social amnesia following a period of repression and censorship. Drawing on the critical practice of spatial studies, I look beyond the flat representation of space and study instead how a multidimensional spatialization depicted in this work reveals the legacy of Spanish colonial infrastructures of race and the emerging formulation of modernity. Indeed, Pacheco’s novel tells the story of repressed memories and unearths the infrastructures of a coloniality/modernity that continue to affect Mexico today.

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Alfaro-Velcamp, Theresa. ""Reelizing" Arab and Jewish Ethnicity in Mexican Film." Americas 63, no. 2 (2006): 261–80. http://dx.doi.org/10.1353/tam.2006.0000.

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Dominique Brégent-Heald. "Re-Thinking Cinema: Transnationalism, Mexican Immigrant Communities, and Film Culture." Journal of American Ethnic History 36, no. 1 (2016): 87. http://dx.doi.org/10.5406/jamerethnhist.36.1.0087.

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Biron, Rebecca E. "It's a Living: Hit Men in the Mexican Narco War." PMLA/Publications of the Modern Language Association of America 127, no. 4 (October 2012): 820–34. http://dx.doi.org/10.1632/pmla.2012.127.4.820.

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Because hit men in the twenty-first-century Mexican drug war engage in paid labor at the extreme end of dehumanizing economic relations, they expose the shifting notions of work, life, and ethics that support contemporary global capitalism. Hannah Arendt's distinctions between labor, work, and action structure this comparative analysis of two 2010 narratives featuring Mexican hit men: a testimonial text titled El Sicario: The Autobiography of a Mexican Assassin and a feature film titled El infierno. These texts explore the subject-producing as well as the destructive effects of murder for hire. Alain Badiou's Ethics illuminates how when professional killing becomes a way of life, it provocatively complicates concepts of the good and the human.

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Lanslots, Inge, and An Van Hecke. "Building stories on The Brick People." Journal of Internationalization and Localization 3, no. 2 (December 16, 2016): 182–95. http://dx.doi.org/10.1075/jial.3.2.05lan.

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The focus of this study is an analysis of the novel The Brick People published by the Chicano author Alejandro Morales in 1988 and its homonymous documentary film from 2012. Both narratives are based on the same story, namely the lives of Mexican immigrants, who worked as employees in Simons Brickyard in Los Angeles, California, a city originally founded by Mexicans. In the official historiography, this part of Mexican migration in California has been ignored. This study will reveal how the novel and the documentary deal with this gap or interstice in North-American history and how they reflect the cultural divide in Southern California. We are particularly interested in how both the novelist and the documentary makers present the topics of integration, of preservation or construction of the Mexican cultural identity and of cross-cultural dialogue to an English speaking audience. Both the documentary and the novel narrate “value[s] that reflect […] the language, local conventions and culture of [the] geographic region” (ISO/TS 11669:2012(en), 2.1.10) of Los Angeles. The depiction of this target locale presents itself as a borderland that clusters a rich mix of cultural, historical, and (non) urban landscapes (Gersdorf 2009, 309). This ancient collective memory appears serendipitously as sudden sites or potential links of human action collected in one or more of the previous structures of consciousness and inspire individuals to perform and produce in unique and extraordinary ways (Morales 2012, 111).

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Monsiváis, Carlos, and Lois Parkinson Zamora. "The Neobaroque and Popular Culture." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 180–88. http://dx.doi.org/10.1632/pmla.2009.124.1.180.

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Carlos Monsiváis is hard to pin down. He is a chronicler of every aspect of Mexican reality past and present; A cultural critic focusing on poetry, film, art, and music; and an erudite essayist committed to the connections between elite and popular cultures. His style is both acerbic and festive in ways that epitomize the Mexican character, and nothing escapes his incisive curiosity: the cult of national heroes that finds its twin in the society of spectacle, the cultural migrations between television talk and devotional discourse, the mass movements that advance and recede in a welter of democratic projects. As an intellectual, Carlos Monsiváis is unique in (and to) Mexico. You cannot walk in this country without seeing or hearing him on every street corner, nor can you open a book without sensing his influence. His presence is so omnímoda—so omnimodal—that we no longer know which came first: Mexican culture as Monsiváis observes it, or Monsiváis observing Mexican culture.

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Prado Rubio, Erika. "Inquisitorial process in Arturo Ripstein’s film: “El Santo Oficio”." IHERING. CUADERNOS DE CIENCIAS JURÍDICAS Y SOCIALES, no. 3 (September 9, 2020): 139–64. http://dx.doi.org/10.51743/ihering.33.

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Despite the great influence that the Black Legend of Spain has had on the cinema in the representation of the Holy Office in audiovisual content, it is possible to rescue some works with great historical rigor. One of them is The Holy Office of Arturo Ripstein. In this Mexican film, the story of the Carvajal family is narrated, which will be processed twice by this court.

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Caddoo, Cara. "Laura Isabel Serna. Making Cinelandia: American Films and Mexican Film Culture before the Golden Age." American Historical Review 120, no. 2 (April 2015): 679–80. http://dx.doi.org/10.1093/ahr/120.2.679.

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Lopez Oropeza, Enrique Abraham. "Cultural appropriation of the Day of the Dead by foreign studio films." Tensões Mundiais 16, no. 31 (June 11, 2020): 249–55. http://dx.doi.org/10.33956/tensoesmundiais.v16i31.2743.

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A year after the release of the film “Spectre”, the Mexican government decided to organize a parade in Mexico city as a consequence of the representation in such film. Even though a parade is not even part of the original tradition. Cultures naturally change and evolve yet, how valid is it for foreigners to be responsible for these modifications? How are these actions different from the cultural impositions in the times of the colonies?

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KENNY, IVAN. "The Right to Tlatelolco: Space, State and Home in Rojo amanecer (1989), Directed by Jorge Fons." Bulletin of Hispanic Studies 97, no. 10 (November 1, 2020): 1113–29. http://dx.doi.org/10.3828/bhs.2020.62.

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This article addresses the issue of spatiality in the Mexican film Rojo amanecer (Jorge Fons, 1989), which dramatizes the events surrounding the massacre of student demonstrators in the plaza de Tlatelolco, Mexico City, on 2nd October 1968. The film has received a good deal of critical attention and yet a detailed analysis of its rendering of narrative space remains to be done. With reference to the spatial theories of Henri Lefebvre and Gaston Bachelard, I argue that the film’s innovative use of narrative space establishes a symbolic connection between the events in the public space of the Plaza de las Tres Culturas and the intimate space of the Mexican family home. The harrowing depiction of an invasion of state power into the space of the home serves to critique the Partido Revolutionario Institutional (PRI) regime’s core ideology and its modernist housing project in Tlatelolco.

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Tierney, Dolores. "Making Cinelandia: American Film and Mexican Film Culture before the Golden Age by Laura Isabel Serna." American Studies 55, no. 1 (2016): 149–50. http://dx.doi.org/10.1353/ams.2016.0061.

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Madrigal, Elena. "Ilana Dann Luna. Adapting Gender. Mexican Feminisms from Literature to Film." Revista Iberoamericana, no. 265 (November 27, 2018): 1221–23. http://dx.doi.org/10.5195/reviberoamer.2018.7690.

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Valdez, Avelardo, and Jeffrey A. Halley. "Teaching Mexican American Experiences through Film: Private Issues and Public Problems." Teaching Sociology 27, no. 3 (July 1999): 286. http://dx.doi.org/10.2307/1319329.

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Haddu, Miriam. "Aesthetics and Politics in the Mexican Film Industry by Misha MacLaird." Cinema Journal 54, no. 1 (2014): 148–52. http://dx.doi.org/10.1353/cj.2014.0061.

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Hegarty, Kerry. "Youth culture on film: an analysis of post-1968 Mexican cinema." Studies in Hispanic Cinema 4, no. 3 (December 1, 2007): 165–82. http://dx.doi.org/10.1386/shci.4.3.165_1.

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Colin Gunckel. "Ambivalent Si(gh)tings: Stardom and Silent Film in Mexican America." Film History 29, no. 1 (2017): 110. http://dx.doi.org/10.2979/filmhistory.29.1.06.

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Chorba, Carrie C. "Exploring Mexican national identity in Salvador Carrasco's film,la otra conquista." Review: Literature and Arts of the Americas 37, no. 2 (November 2004): 221–31. http://dx.doi.org/10.1080/0890576042000292790.

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Ronquillo Montes, Cinthya Patricia. "“El Infierno”: A Critical Discourse Analysis of Narco Culture in a Mexican Film." Open Journal for Studies in Arts 3, no. 2 (November 21, 2020): 53–64. http://dx.doi.org/10.32591/coas.ojsa.0302.02053r.

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The portrayal of narco culture in media has increased in recent years as a result of the War of Drugs in Latin America. This paper, based on critical discourse theory and Halliday’s (1978) Systemic Functional Linguistics (SFL), sheds light on the social and cultural impact of discourse found in a scene of the Mexican film “El Infierno” directed by Luis Estrada in 2010. Through the ideational and interpersonal processes, the dialogues of two speakers are analyzed. Additionally, the social impact of the discourse portrayed in the scene is discussed through Fairclough’s (1992) social theory of discourse. Findings suggest that social reality is reflected in the film through discourse as a means to develop critical thinking and reflection in the audience.

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Vázquez Mantecón, Álvaro. "Militancia partidista en súper 8: la política de medios del Partido Mexicano de los Trabajadores." Studies in Spanish & Latin-American Cinemas 17, no. 2 (June 1, 2020): 289–305. http://dx.doi.org/10.1386/slac_00023_1.

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This article analyses Super 8 movies filmed by the Partido Mexicano de los Trabajadores (PTM; Mexican Worker’s Party) during 1970s and part of the 1980s. The PTM was one of the few left winged political parties that did not benefit from Mexico’s 1977 political reform (also known as LOPPE, acronym for Ley de Organizaciones Políticas y Procesos Electorales, Law of Political Organizations and Electoral Processes) that normalized the political life of several left wing parties. My hypothesis in this article is that the political reform also demobilized and dislocated existing forms of resistance against the system. Due to the PMT’s exclusion from this political reform, the analysis of its film productions can help us understand different forms of cultural activism (not only filmmaking) practised in this period by left wing militants as a form of cultural and political resistance.

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Ruiz Ojeda, Tania Celina. "El Noticiario C.L.A.S.A., órgano de difusión gubernamental (1934‐52)." Studies in Spanish & Latin-American Cinemas 17, no. 2 (June 1, 2020): 173–92. http://dx.doi.org/10.1386/slac_00017_1.

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Mexican film was aligned with the state since its origins, but this union only generated continuous cinematographic production beginning in the 1930s, when the government of President Lázaro Cárdenas del Río (1934‐40) signed a contract with the production company that would go to become one of the most important producers of Mexican cinema of the Golden Age: la Cinematográfica Latinoamericana S.A. (CLASA). This article analyses the changes of discourse and narrative style used in these newsreels during three consecutive presidential terms and outlines the working dynamics and the cinematic discourse of each government, as well as how newsreel formats reflected the agenda of each head of state.

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