Screening Neoliberalism: Transforming Mexican Cinema, 1988-2012 by Ignacio Sánchez Prado

ResumenSi se parte de los recientes estudios que relacionan la disciplina geográfica y el cine, este trabajo hace una revisión de los espacios del estado de Hidalgo utilizados como escenario en el Séptimo Arte durante el período del cine en blanco y negro. De esta forma, al relacionar el territorio con la dinámica social, y si se ubica en las relaciones entre realidad y representación, haremos un repaso cronológico a las películas que han preservado la geografía hidalguense.Palabras clave: geografía y cine, estado de Hidalgo, Eisenstein, Cine Mexicano Abstract On the basis of recent studies that relate the geographical and the cinema, This work makes a review of the State of Hidalgo spaces used as a backdrop in the seventh art in the period of the film in black and White. In this way, and relating territory with social dynamics and positioning ourselves in the relationship between reality and representation will do a chronological review films that have preserved the Hidalgo geography.Keywords: Geography and cinema, State of Hidalgo, Eisenstein, Mexican cinema [1] Doctor en Historia del Arte, Universidad de Granada. Profesor/Investigador del Área de Historia y Antropología del Instituto de Ciencias Sociales de la Universidad Autónoma del Estado de Hidalgo. SNI 1

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Cartographies of Mexican Cinema in the 21st Century

Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual ◽

10.22475/rebeca.v4n1.337 ◽

2016 ◽

Vol 4 (1) ◽

pp. 17

Author(s):

Ana M López

Keyword(s):

21St Century ◽

Mexican Cinema

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The Role of Lucha Libre in the Construction of Mexican Male Identity

Networking Knowledge: Journal of the MeCCSA Postgraduate Network ◽

10.31165/nk.2011.41.68 ◽

2011 ◽

Vol 4 (1) ◽

Author(s):

Javier Pereda ◽

Patricia Murrieta-Flores

Keyword(s):

Social Interaction ◽

Historical Analysis ◽

Popular Imagination ◽

Fast Growing ◽

Mexican Cinema ◽

Mexican Culture ◽

Moral Standards ◽

Ordinary Person ◽

Lucha Libre

Lucha Libre has played an important role in Mexican culture since the late 1950s. The sport became famous mainly due to its masked wrestlers, who incorporated their own family traditions, beliefs and fears into the design of their masks, transforming an ordinary person into a fearless character. After the introduction of the Monsters Cinema in the 1930s, Mexican audiences welcomed and adopted characters like Dracula, Nosferatu, Frankenstein and The Werewolf. The success of Monster Cinema in Mexican culture was based on the integration of national legends and beliefs, placing them in local and identifiable concepts in the Mexican popular imagination. Later, Lucha Libre Cinema mixed with Monster Cinema resulting in the birth of new heroes and myths. These emergent paladins of the Mexican metropolis set the cultural and moral standards of that time and how Mexicans wanted to be perceived. Through an anthropological and historical analysis of Mexican Cinema and Lucha Libre, this paper investigates the main social interaction of male wrestlers who perform as heroes inside the celluloid world and outside of it. We explore how masculinity and the male figure evolves in Lucha Libre Cinema, and the processes that wrestlers have to undergo in order to be able to portray themselves as superheroes of an evolving and fast growing Mexico.

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Hegemony and mediations in melodrama of the Golden Age of Mexican cinema

10.26686/wgtn.17013113.v1 ◽

2021 ◽

Author(s):

◽

Dave Evans

Keyword(s):

Twentieth Century ◽

Golden Age ◽

Lower Class ◽

Best Interest ◽

Contentious Issue ◽

Mexican Cinema ◽

The Family ◽

Dominant Ideologies ◽

The Masses ◽

Revolutionary Period

<p>The influence of the mass media is a contentious issue, especially in regards to the Golden Age of Mexican Cinema in the mid-twentieth century. These melodramatic films have often been viewed by critics as instruments of hegemony. However, melodrama contains an inherent ambivalence, as it not only has a potential for imparting dominant messages but also offers a platform from which to defy and exceed the restraining boundaries imposed by dominant ideologies. An examination of a number of important Golden Age films, especially focussing on their contradictory tensions and their portrayals of modernity, illustrates this. The Nosotros los pobres series serves as an example of how melodramatic elements are incorporated into popular Mexican films and how melodrama could be used as an ideological tool to encourage the state’s goals. Similarly, the maternal melodrama Cuando los hijos se van uses the family to represent the processes of conflict and negotiation that Mexicans experienced as a result of modernization. Consistent with the reactionary nature of melodrama and its simultaneous suggestive potential, the film combines a Catholic worldview with an underlying allegory of moving forward. The issue of progress is also at the centre of a number of films starring iconic actor Pedro Infante, which offer an avenue for exploring what modernisation might mean for male identity in Mexico. His films show a masculinity in transition and how lower-class men could cope with this change. Likewise, the depiction of women in Golden Age film overall supports the stabilising goals of the 1940s Revolutionary government, while also providing some transgressive figures. Therefore, these films helped the Mexican audience process the sudden modernization of the post-Revolutionary period, which was in the state’s best interest; however, the masses were also able to reconfigure the messages of these films and find their own sense of meaning in them.</p>

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El narcotráfico en el cine mexicano: arquetipos desde 2010 a 2017

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00047_1 ◽

2021 ◽

Vol 18 (2) ◽

pp. 211-229 ◽

Cited By ~ 1

Author(s):

Elba Díaz-Cerveró ◽

Gabriel Domínguez-Partida

Keyword(s):

Drug Trafficking ◽

Legitimate Authority ◽

Mexican Cinema ◽

Box Office ◽

Modus Vivendi

This article studies the archetypes and the iconography in contemporary Mexican films that deal with drug trafficking in order to examine the evolution of the narco cinema subgenre and changes in the representation of the narcocultura. The corpus is constituted by the biggest box office hits each year between 2010 and 2017, which are analysed thematically. This study suggests that the characteristics of the narcocultura continue circulating within Mexican cinema, but it does not point to a subgenre’s existence. The genres circumscribing the films analysed promote the narcos’ heroism via archetypes and iconography, which symbolize how narcos overcome their modus vivendi to stand as a legitimate authority against a corrupt government. Alongside this representation of narcos, these films also present objectified women and promote values such as loyalty and family. The aforementioned archetypes and iconography offer a view of life in which violence is normalized, and crime is seen as a legitimate lifestyle.

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