By Ernesto R. Acevedo-Muñoz
Although Luis Buñuel, the most very important filmmakers of the 20th century, spent his most efficient years as a director in Mexico, movie histories and feedback continually pay little realization to his paintings in this interval. the single book-length English-language learn of Buñuel's Mexican movies, this ebook is the 1st to discover an important yet missed region of this filmmaker's unique occupation and therefore to fill a niche in our appreciation and knowing of either Buñuel's fulfillment and the historical past of Mexican film.
Ernesto Acevedo-Muñoz considers Buñuel's Mexican films—made among 1947 and 1965—within the context of a countrywide and nationalist movie undefined, evaluating the filmmaker's employment of kinds, genres, personality kinds, subject matters, and strategies to these so much attribute of Mexican cinema. during this learn Buñuel's movies end up a hyperlink among the Classical Mexican cinema of the Nineteen Thirties in the course of the Fifties and the "new" Cinema of the Nineteen Sixties, flourishing in a time of challenge for the nationwide movie and introducing many of the stylistic and conceptual adjustments that will revitalize Mexican cinema.
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Extra info for Buñuel and Mexico: The Crisis of National Cinema
13 Renowned anthropologist Néstor García Canclini has studied Mexican museums, painting, and the plastic arts, and he concludes that in Mexico the adoption of cultural production as a tool of nationalism has emphasized the visual arts: “Although Mexico has a powerful literature, its cultural profile was not established primarily by writers. ”15 Beyond exposing the relationships among art, hegemony, mythology, and the state as they are reproduced at the Mexican National Museum of Anthropology, García Canclini has analyzed the ways “culture” has been codified, structured, and hierarchized in the Mexican state’s “revolutionary” program: Among Latin American countries, Mexico, because of the nationalist orientation of its postrevolutionary policy, should be the one that has been more concerned with expanding visual culture, preserving its patrimony, and integrating it into a system of museums, archeological and historical centers.
59 2 Buñuel and Mexico Should I suddenly drop out of sight one day, I might be anywhere except there. —Luis Buñuel, My Last Sigh In what way is Luis Buñuel, Aragonese man of good stock, immersed in the French cultural tradition, going to find Mexico and its drama? —Miguel Ángel Mendoza, 1947 After his landmark debut film Un chien andalou in 1929 and the controversial L’Age d’Or in 1930, Luis Buñuel had a somewhat irregular career, until he reemerged from relative obscurity in 1950 with his third Mexican feature, Los olvidados.
26 Furthermore, the homogenizing cultural initiative of public education expanded to promote national music, literature, arts, and education. 27 Classical Mexican cinema became part of that project in the 1930s, partially supported by government incentives (primarily in the form of taxes on film imports) and subventions. There was, as well, the recognition of a “central” cinema (the historical/patriotic epics) and a “peripheral” cinema (the comedies of Cantinflas and, later, Tin-Tán, the musical dramas, and the cine de arrabal).