This book has benefited from constant conversations with members of both groups. Writing a book about Mexican cinema means being in a state of dialogue and exchange with two wonderful scholarly communities: Mexicanists and Latin American film specialists. The Three Amigos and the Lone Ranger: Mexican Global Auteurs on the National StageĬonclusion: Mexican Cinema after Neoliberalism The Neoliberal Gaze: Reframing Politics in the Democratic TransitionĤ. Publicists in Love: Romantic Comedy, Cinema Privatization, and the Aesthetics of the Middle Classģ. Nationalism Eroded: Mexican Cinema in Times of CrisisĢ. Introduction: The Reinvention of Mexican Cinemaġ. LC classification number PN1993.5.M4S28 2014 Library of Congress Cataloging-in-Publication Data on file Manufactured in the United States of America SCREENING NEOLIBERALISM SCREENING NEOLIBERALISM Screening Neoliberalism exposes the consequences of a film industry forced to find new audiences in Mexico's middle-class in order to achieve economic and cultural viability. This analysis considers the directors and films that have found international notoriety as well as those that have been instrumental in building a domestic market. Far from just a history of the period, Screening Neoliberalism explores four deep transformations in the Mexican film industry: the decline of nationalism, the new focus on middle-class audiences, the redefinition of political cinema, and the impact of globalization. In Screening Neoliberalism, Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. Films like Y Tu Mama Tambien, El Mariachi, Amores Perros, and the work of icons like Guillermo del Toro and Salma Hayek represent much more than resurgent interest in the cinema of Mexico. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal.
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