Review: Heroes of the Borderlands: The Western in Mexican Film, Comics, and Music, by Christopher Conway

2021 ◽  
Vol 37 (1) ◽  
pp. 160-163
Author(s):  
Adela Pineda Franco
Keyword(s):  
Mexican Film

Cinesonidos

2019 ◽  
Author(s):  
Jacqueline Avila
Keyword(s):  
National Identity ◽  
Cultural History ◽  
Mexican Revolution ◽  
Film Industry ◽  
Primary Source ◽  
Film Music ◽  
Sound Studies ◽  
Mexican Film ◽  
Commercial Medium ◽  
Film Genres

Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.

Review: Pedro and the Captain by Juan E. Garcia, Pedro Torres Castilla

1985 ◽  
Vol 39 (1) ◽  
pp. 30-32
Author(s):  
Julianne Burton
Keyword(s):  
Latin American ◽  
New Mexican ◽  
Mexican Film ◽  
American Style

A new Mexican film (based on a Uruguayan play) explores the brutal dynamics of political torture, Latin American style.

The Right to Tlatelolco: Space, State and Home in Rojo amanecer (1989), Directed by Jorge Fons

2020 ◽  
Vol 97 (10) ◽  
pp. 1113-1129
Author(s):  
IVAN KENNY
Keyword(s):  
Public Space ◽  
Good Deal ◽  
Gaston Bachelard ◽  
Narrative Space ◽  
The Public ◽  
Critical Attention ◽  
Mexican Film ◽  
Space State ◽  
Mexican Family ◽  
The Right

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.

Revueltas Sánchez, Silvestre (1899–1940)

2018 ◽  
Author(s):  
Jacqueline Avila
Keyword(s):  
Film Industry ◽  
Health Problems ◽  
Chamber Works ◽  
Nationalist Movement ◽  
Mexican Culture ◽  
Mexican Film ◽  
Film Composers

Silvestre Revueltas was a Mexican modernist composer and violinist. Known mainly for his references to modern Mexican culture, Revueltas is regarded as an essential figure during the Mexican modernist and nationalist movement in music. He composed chamber works, vocal pieces, and music for larger symphonic orchestras, and was also one of the most successful film composers in the Mexican film industry during the 1930s. Suffering from severe alcoholism and health problems, Revueltas died of pneumonia in December 1940.

"Reelizing" Arab and Jewish Ethnicity in Mexican Film

2006 ◽  
Vol 63 (2) ◽  
pp. 261-280
Author(s):  
Theresa. Alfaro-Velcamp
Keyword(s):  
Mexican Film

Revolution and rebellion in Mexican film

2014 ◽  
Vol 51 (06) ◽  
pp. 51-3144-51-3144
Keyword(s):  
Mexican Film
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