Mexican National Cinema

Echoes of the Mexican revolution: cinematic and museographic approaches to history in the 2010 bicentenary

“…2 The 'cinema of the revolution' has been the subject of research in the field of film and cultural studies, in work on the genre in general (Monsiváis, 1978(Monsiváis, , 1995Vázquez Mantecón, 2010), on individual films (Podalsky, 1993;Noble, 2005;Wood, 2009), on key directors such as Fernando de Fuentes, Emilio Fernández, Matilde Landeta and Paul Leduc (Mraz, 1997;Dever, 2003;Anievas, 2004;Tierney, 2007;Arroyo, 2011), on specific periods (Miquel, 2010), on themes such as gender identity, romantic love and the caudillos (Tierney, 2007;Vargas, 2010;Arroyo, 2010;De la Vega, 2010), on subgenres such as revolutionary melodrama (Doremus, 2001) and on Hollywood and Europe's contributions to the genre (De Orellana, 1991;Miranda, 2010). A broadranging study is that of Zuzana M. Pick (2010), which tackles Mexican and US documentary and fiction film, over a timespan stretching from the civil war to the first decade of the twenty-first century.…”

Una política de autores para Latinoamérica. (Nuevos cines y nueva crítica: Argentina, Brasil, México en los sesenta) / A politique des auteurs for Latin America. (New cinemas and new criticism: Argentina, Brasil and México in the sixties)

“…Eso explica, en parte, por qué las películas de los cineastas mexicanos parecen renuentes a la impronta politizadora del Nuevo Cine Latinoamericano. Véase Noble, 2005. Sobre la importancia de la Revista do cinema para la crítica en Brasil, véase Xavier, 2014. de Todos os Santos (José Trigueirinho Netto, 1960), confronta dos actitudes diferentes frente a la realización cinematográfica. Dice:…”

Rehabilitating Neoliberalism: Disability Representation in the Films of Alejandro González Iñárritu and Guillermo Arriaga

“…Amores perros, the first of the films, was made during an important moment for both Mexican film and Mexican politics. As Andrea Noble points out, after its rise to power in 1929, Mexico's Institutional Revolutionary Party (PRI) became known for its cultural investments, but the late 1990s saw a drop in this support. This profoundly affected the production of González Iñárritu and Arriaga's first film; Amores perros was made exclusively with private funding on a budget that far exceeded the average cost for a Mexican film at the time.…”