It is often forgotten that along with Cuba, Mexico was at the forefront of arguing for new forms of Latin American cinema. This manifesto from 1961 not only argues for the cinema as a means of personal and national expression, but also for the need for Mexican audiences to see the emerging world cinemas so as to be in dialogue with developments taking place in the cinema globally. If later Latin American manifestos argue for the need of an expressly political cinema, this manifesto lays the groundwork for the ways in which Mexican cinema can take its place beside other national fi lm “waves”—what will soon come to be known as “Second Cinema”—that reimagined the cinema at the beginning of the 1960s.


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