Mexican Filmmaking, Production, and Consumption in the Twenty-first Century
Publication Year: 2013
Published by: University of Michigan Press
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Title Page, Copyright
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Foreword by Carlos Salces
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A pesar de todo, en especial de la catÃ¡strofe capitalista neoliberal, el cine mexicano sobrevive. Por ello, cada dÃ©cada se hace un refrito de la denomi-naciÃ³n âNuevo Cine Mexicano.â El esfuerzos de los realizadores y tÃ©cnicos que trabajan en esta arte- oficio- mercancÃa es milagroso. Milagroso y trÃ¡gico.Las pelÃculas son reflejo de las posibilidades expresivas de sus directores, ...
Preface and Acknowledgments
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I wrote this book after years of teaching contemporary Mexican cinema, and by âcontemporaryâ I really mean contemporary: Mexican films made mostly in the first decade of the twenty- first century. This focus required me to grow the course in organic syncopation with films newly scripted, shot, spliced, or released. There is something strongly compelling and kinetic about working ...
Lights, Camera, Action
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With a few nods to earlier moments in Mexicoâs film history, the discussions in the following pages focus entirely on the twenty- first century. In many ways (and journalists have been quick to notice this), the first decade of this century marks a massive rebirthing moment in the making of Mexican films. Some argue that this moment involves not only increased production and ...
The Nuts and Bolts of Mexican Film
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Like all cinematic narrative, Mexican films are first and foremost built of movement: of objects and characters within the frame, of the camera focus and angle, and in the juxtaposition of shots. More precisely, it is a double- structured ordering of movement (within the frame and in its composition) that allows Mexican filmmakers to reorganize the building blocks of reality (and experi-...
Hecho a Mano... Hecho por Homo sapiens
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While each is unique in his or her film- story expression, Mexican filmmak-ers are all feeling, thinking, and imagining human beings who share a deep and long evolutionary history with other filmmakers and audiencesâ human beings in our totalityâ the world over. We have learned to know ourselves as a single species, each one of whose members is endowed with more or less the ...
U.S - Mexico Crossings, Trends, and Backdrops
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Many twenty- first- century films by or about Mexicans are bound up with stories that one way or another cross the border between Mexico and the United States. In some cases, the filmâs story line plots the actions and devel-ops the characterizations of individuals who cross the border. In other cases, a Mexican film achieves âcrossoverâ success, with distribution and consump-...
Contexts, Critiques, Distribution, Exhibition, and Obstacles
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Twenty- first- century Mexican films have been identified by media pundits, scholars, and their directors themselves as part of the vital, vibrant buena onda (roughly, ânew vibeâ) Mexican cinema that, in the words of Alfonso CuarÃ³n, is âreclaiming its part in the world.â1 Many take Amores perros and Y tu mamÃ¡ tambiÃ©n to be the films that best embody this buena onda worldview....
Refrito and Buena Onda Films Put to the Test
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It is now time to show how systematic analysis can lead to critical evalua-tion of twenty- first- century films by or about Mexicans. I will unpack how the blueprints are put together and show how they aim to guide the senses, thoughts, and feelings of their ideal audiences. I will then show how these As I have already asserted, twenty- first- century Mexican films run the ...
Bubblegums That Pop; Refritos That Go "Ah"
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Perhaps surprisingly, the filmic sincerity and relevance informing some made- for- teens bubblegum films and adult- oriented refritos stand in sharp contrast to the buena onda alternative films of CuarÃ³n and GonzÃ¡lez IÃ±Ã¡rritu. There are bubblegum and refrito films that renovate our perceptions, emo-tions, and cognitions related to the world. In several of such films, we see a ...
It's a Wrap
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Making, experiencing, interpreting, and judging twenty- first- century Mexi-can films requires us to use our perceptual, emotive, and cognitive faculties. As we have seen, these capacities lead to dif_ferent artistic products. In this way Mexican films can be seen as a dialect of a planetary cinema. We can come to these conclusions because of an approach that carefully considers ...
Afterword by Michael Donnelly
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I come to the pleasure of writing this afterword to Mex- CinÃ© from a history that crosses all dimensions of the filmmaking and filmgoing experience: from cinematic exhibitor and archivist to producer, DP (director of photography), This odyssey began at an early age. As a kid I played with still cameras and Super 8 and made home movies and photographs as a form of personal ...
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This is not conclusive. Generally, films that do not mention actors are docu-Editor: Luis Carballar, Alejandro GonzÃ¡lez IÃ±Ã¡rritu, Fernando PÃ©rez UndaStars: Gerardo Taracena, Ricardo Esquerra, TiarÃ© Scanda, Mario ZaragozaStars: Alejandro Tomassi, Alonso EchÃ¡nove, DemiÃ¡n Bichir, Diego Luna, Dolores Stars: Fernando Tielve, Eduardo Noriega, Marisa Paredes, Federico Luppi...
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Page Count: 288
Illustrations: 41 Halftones
Publication Year: 2013