Mexico: Mexican Cinema (1900-1950)

GENERAL DESCRIPTION
The cinematograph was well received by Mexican society from the arrival of the Lumière brothers’ emissaries to Mexico in 1896. The first Mexican cameramen and filmmakers appeared soon after. With the beginning of the armed movement in 1910 against the 30-year dictatorship of Mexican president Porfirio Díaz, a new chapter in film history was written. The first revolution recorded in the 20th century drove Mexican and foreign filmmakers to document its main protagonists, such as Francisco I. Madero, Emiliano Zapata, Venustiano Carranza, and the legendary Francisco Villa.

From the very beginning, narrative films took as their subjects some of the most emblematic episodes in Mexican history. Mexican cinema also used literature and music as an instrument to show all the facets of Mexican society. Additionally, the visual arts had a clear influence on “the ways of seeing men and things,” as Gabriel Figueroa—one of the most important Mexican cinematographers in the twentieth century—once said. There are many striking examples of exchanges between fine arts and cinema, especially during Mexico’s “Golden Age” of film production, which would become a reference point for visual aesthetics in contemporary filmmaking.

Romanticism’s arrival in Mexico in the 19th century helped cement a perception of women’s intellectual capacities as being based on intuition and imagination over reason. Almost out of habit, Mexican cinema attributed these behavioral patterns to its female characters, often determined by the character’s setting. On one end of the spectrum stands the neat, home-loving woman, generally a self-sacrificing mother and wife in a small or rural town, and on the other the sinful woman, typical of Mexico’s city nightlife or seafaring ports. Between these we find the soldaderas of the Mexican Revolution portrayed by the movies of the 1940s and 50s (known as the “Golden Age” of Mexican Cinema) alongside battered women, femmes fatales, and contemporary women demanding these patterns be broken.

Adapted from
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde, Gallery text [Mexican Cinema; Strong Women in Cinema], 2017.

NOTES
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde.
  • Note: author may be either Erin Piñon or Sue Canterbury, or both.

ASSOCIATED CONTENT CHUNKS

AUDIO ASSETS 
  • 280540272: UMO

VIDEO ASSETS  

IMAGE ASSETS 

WEB RESOURCES 
  • Khan Academy~Learn more about Latin American art.
  • Khan Academy~Read more about the Mexican Revolution and Independence.
  • Khan Academy~Read more about Mexican muralism and David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco.
  • Khan Academy~Learn more about movies, radio, and sports in the 1920s.
  • Khan Academy~Learn more about romanticism, neoclassicism and monumentality in 18th and 19th century Mexican art.
  • Khan Academy~Read about romanticism and 19th century stylistic developments.
  • Khan Academy~Learn more about romanticism in France.
  • Khan Academy~Read about modernism from 1850 to 1960.
  • Khan Academy~Watch a video about the influence of abstraction.

ARCHIVAL RESOURCES 

FUN FACTS 

TEACHING IDEAS 

RULES
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Category
rules_operator
OR
General Description
The cinematograph was well received by Mexican society from the arrival of the Lumière brothers’ emissaries to Mexico in 1896. The first Mexican cameramen and filmmakers appeared soon after. With the beginning of the armed movement in 1910 against the 30-year dictatorship of Mexican president Porfirio Díaz, a new chapter in film history was written. The first revolution recorded in the 20th century drove Mexican and foreign filmmakers to document its main protagonists, such as Francisco I. Madero, Emiliano Zapata, Venustiano Carranza, and the legendary Francisco Villa.

From the very beginning, narrative films took as their subjects some of the most emblematic episodes in Mexican history. Mexican cinema also used literature and music as an instrument to show all the facets of Mexican society. Additionally, the visual arts had a clear influence on “the ways of seeing men and things,” as Gabriel Figueroa—one of the most important Mexican cinematographers in the twentieth century—once said. There are many striking examples of exchanges between fine arts and cinema, especially during Mexico’s “Golden Age” of film production, which would become a reference point for visual aesthetics in contemporary filmmaking.

Romanticism’s arrival in Mexico in the 19th century helped cement a perception of women’s intellectual capacities as being based on intuition and imagination over reason. Almost out of habit, Mexican cinema attributed these behavioral patterns to its female characters, often determined by the character’s setting. On one end of the spectrum stands the neat, home-loving woman, generally a self-sacrificing mother and wife in a small or rural town, and on the other the sinful woman, typical of Mexico’s city nightlife or seafaring ports. Between these we find the soldaderas of the Mexican Revolution portrayed by the movies of the 1940s and 50s (known as the “Golden Age” of Mexican Cinema) alongside battered women, femmes fatales, and contemporary women demanding these patterns be broken.

Adapted from
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde, Gallery text [Mexican Cinema; Strong Women in Cinema], 2017.

Fun Facts
 
Archival Resources
 
Web Resources
 
  • Khan Academy~Learn more about Latin American art.
  • Khan Academy~Read more about the Mexican Revolution and Independence.
  • Khan Academy~Read more about Mexican muralism and David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco.
  • Khan Academy~Learn more about movies, radio, and sports in the 1920s.
  • Khan Academy~Learn more about romanticism, neoclassicism and monumentality in 18th and 19th century Mexican art.
  • Khan Academy~Read about romanticism and 19th century stylistic developments.
  • Khan Academy~Learn more about romanticism in France.
  • Khan Academy~Read about modernism from 1850 to 1960.
  • Khan Academy~Watch a video about the influence of abstraction.

Notes
  • México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant Garde.
  • Note: author may be either Erin Piñon or Sue Canterbury, or both.

rules
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tags
#draft
#completed
@Higgins
%copyedited_Gail
women: AAT: 300025943
Mexico (nation): TGN: 7005560
female: AAT: 300189557
histories (literature genre): AAT: 300026358
narrative (artistic device): AAT: 300055903
soldiers: AAT: 300185678
mothers: AAT: 300025932
*Latin American Art
music (discipline): AAT: 300054146
wars: AAT: 300055314
battles: AAT: 300185692
Romanticism (style): AAT: 300172863
cameras (photographic equipment): AAT: 300022636
romanticism (form of expression): AAT: 300056557
literature (humanities): AAT: 300054273
filmmaking: AAT: 300263841
ports: AAT: 300120599
rural areas: AAT: 300229355
film (performing arts): AAT: 300054141
night: AAT: 300133095
revolution: AAT: 300055312
visual arts: AAT: 300054154
femme fatale: DMA
280540272: UMO
guerrilla warfare (wars / armed conflicts): AAT: 300055316
cinematographs (image-projecting / image-making equipment): AAT: 300400735
Lumière_Auguste: ULAN: 500019435
Lumière_Louis: ULAN: 500006949
cameramen (people in the performing arts): AAT: 300025647
cinematographers (photographers): AAT: 300025650
Figueroa_Gabriel: ULAN: 500279184
movement (historical concept): AAT: 300404180
source file
time_and_place-0085.xml.nores