Mexican Film: From National to Transnational and Global

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

Resumé

Abstrac
The Mexican state played a central role in the development of a national film industry for the major part of the last century. Films should promote the nationalist ideology on which the post-revolutionary governments built its identity. Thus movies contributed significantly to the creation of a national identity which symbolically reconciles all Mexicans despite the enormous social, ethnic and regional differences. This article shows that globalization and neoliberal reforms, which among other things meant a withdrawal of state support for cinema, created new conditions for film production. These forces opened for Mexico (together with the formation of new transnational areas, NAFTA 1994) ways for a new type of filmmakers who create and produce films aimed at global audiences. First I will present some core ideas of Ulrich Beck, Zygmunt Bauman and Anthony McGrew on globalization and transnationalism: ideas that illustrate the processes which have weakened the nation state making it more appropriate to study cultural and social processes from a transnational or global perspective. Then the article follows the career of Alejandro Gonzales Iñárritu as a filmmaker. With Amores Perros (Love's a Bitch, 2000) he created a film that, although it is about violence in Mexico City, appealed to a global audience by using a transnational language when it comes to music, narrative and pace. This film gave him access to the American film industry and he could now produce and direct films such as Babel (2006). The article argues that these films are relevant and innovative, social theory about transnationalism and globalization. Because of his success as a transnational and globally oriented filmmaker Alejandro Gonzales Iñárritu (together with Guillermo del Toro and Alfonso Cuarón) has today a dominant position in the Mexican film production. This situation has raised discussions about the relationship between national and global films in Mexico. This article also addresses these debates.
OriginalsprogEngelsk
TidsskriftTEMP - tidsskrift for historie
Udgave nummer6
Sider (fra-til)89-101
Antal sider12
ISSN1904-5565
StatusUdgivet - 2013

Emneord

  • Film and trasnationalism

Citer dette

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title = "Mexican Film: From National to Transnational and Global",
abstract = "AbstracThe Mexican state played a central role in the development of a national film industry for the major part of the last century. Films should promote the nationalist ideology on which the post-revolutionary governments built its identity. Thus movies contributed significantly to the creation of a national identity which symbolically reconciles all Mexicans despite the enormous social, ethnic and regional differences. This article shows that globalization and neoliberal reforms, which among other things meant a withdrawal of state support for cinema, created new conditions for film production. These forces opened for Mexico (together with the formation of new transnational areas, NAFTA 1994) ways for a new type of filmmakers who create and produce films aimed at global audiences. First I will present some core ideas of Ulrich Beck, Zygmunt Bauman and Anthony McGrew on globalization and transnationalism: ideas that illustrate the processes which have weakened the nation state making it more appropriate to study cultural and social processes from a transnational or global perspective. Then the article follows the career of Alejandro Gonzales I{\~n}{\'a}rritu as a filmmaker. With Amores Perros (Love's a Bitch, 2000) he created a film that, although it is about violence in Mexico City, appealed to a global audience by using a transnational language when it comes to music, narrative and pace. This film gave him access to the American film industry and he could now produce and direct films such as Babel (2006). The article argues that these films are relevant and innovative, social theory about transnationalism and globalization. Because of his success as a transnational and globally oriented filmmaker Alejandro Gonzales I{\~n}{\'a}rritu (together with Guillermo del Toro and Alfonso Cuar{\'o}n) has today a dominant position in the Mexican film production. This situation has raised discussions about the relationship between national and global films in Mexico. This article also addresses these debates.",
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Mexican Film: From National to Transnational and Global. / Cristoffanini, Pablo Rolando.

I: TEMP - tidsskrift for historie, Nr. 6, 2013, s. 89-101.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

TY - JOUR

T1 - Mexican Film: From National to Transnational and Global

AU - Cristoffanini, Pablo Rolando

PY - 2013

Y1 - 2013

N2 - AbstracThe Mexican state played a central role in the development of a national film industry for the major part of the last century. Films should promote the nationalist ideology on which the post-revolutionary governments built its identity. Thus movies contributed significantly to the creation of a national identity which symbolically reconciles all Mexicans despite the enormous social, ethnic and regional differences. This article shows that globalization and neoliberal reforms, which among other things meant a withdrawal of state support for cinema, created new conditions for film production. These forces opened for Mexico (together with the formation of new transnational areas, NAFTA 1994) ways for a new type of filmmakers who create and produce films aimed at global audiences. First I will present some core ideas of Ulrich Beck, Zygmunt Bauman and Anthony McGrew on globalization and transnationalism: ideas that illustrate the processes which have weakened the nation state making it more appropriate to study cultural and social processes from a transnational or global perspective. Then the article follows the career of Alejandro Gonzales Iñárritu as a filmmaker. With Amores Perros (Love's a Bitch, 2000) he created a film that, although it is about violence in Mexico City, appealed to a global audience by using a transnational language when it comes to music, narrative and pace. This film gave him access to the American film industry and he could now produce and direct films such as Babel (2006). The article argues that these films are relevant and innovative, social theory about transnationalism and globalization. Because of his success as a transnational and globally oriented filmmaker Alejandro Gonzales Iñárritu (together with Guillermo del Toro and Alfonso Cuarón) has today a dominant position in the Mexican film production. This situation has raised discussions about the relationship between national and global films in Mexico. This article also addresses these debates.

AB - AbstracThe Mexican state played a central role in the development of a national film industry for the major part of the last century. Films should promote the nationalist ideology on which the post-revolutionary governments built its identity. Thus movies contributed significantly to the creation of a national identity which symbolically reconciles all Mexicans despite the enormous social, ethnic and regional differences. This article shows that globalization and neoliberal reforms, which among other things meant a withdrawal of state support for cinema, created new conditions for film production. These forces opened for Mexico (together with the formation of new transnational areas, NAFTA 1994) ways for a new type of filmmakers who create and produce films aimed at global audiences. First I will present some core ideas of Ulrich Beck, Zygmunt Bauman and Anthony McGrew on globalization and transnationalism: ideas that illustrate the processes which have weakened the nation state making it more appropriate to study cultural and social processes from a transnational or global perspective. Then the article follows the career of Alejandro Gonzales Iñárritu as a filmmaker. With Amores Perros (Love's a Bitch, 2000) he created a film that, although it is about violence in Mexico City, appealed to a global audience by using a transnational language when it comes to music, narrative and pace. This film gave him access to the American film industry and he could now produce and direct films such as Babel (2006). The article argues that these films are relevant and innovative, social theory about transnationalism and globalization. Because of his success as a transnational and globally oriented filmmaker Alejandro Gonzales Iñárritu (together with Guillermo del Toro and Alfonso Cuarón) has today a dominant position in the Mexican film production. This situation has raised discussions about the relationship between national and global films in Mexico. This article also addresses these debates.

KW - Film and trasnationalism

M3 - Journal article

SP - 89

EP - 101

JO - TEMP - tidsskrift for historie

JF - TEMP - tidsskrift for historie

SN - 1904-5565

IS - 6

ER -