The Mexican Golden Age Of Cinema

Because of the Virgin’s Mexican history, she holds great significance to Mexican Catholics, so it is no surprise why the Virgin remains inherent in Mexican culture, or as literary scholar Debra J. Blake so aptly defined, “Guadalupe equals Mexico.” Both men and women admire the Virgin, but her religious setting provides a context for oppression through the church. NietoGomez explains how the church utilized Guadalupe’s image, "Marianismo, the veneration of the Virgin Mary, became the model of how to make oppression a religious obligation. This is the heritage of the Chicana." The church created a patriarchal role for themselves by weaving the Virgin’s image as a pure mother to model ordinary women’s behavior. By applying this method through the guise of subjugation, the Church rationalized their need to “protect” women in order to maintain their pure, moral status. Paradoxically, feminine virtues expressed by the Virgin as to be employed by women represents many contradictory elements. Debra

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Film has revolutionized the world as we know it. In the current day and age film is quite advanced. You can watch movies with special effects and insane resolution there were never thought possible before. But film has not always been this way. Over the decades since around the 1900s when the first film was made there been amazing advances in technology and in acting. An examination of the past hundred or so years will show the amazing advances film has taken to come to what we know of it today.

The movie “El Norte “is the one of the most successful and influential movies to represent the immigrants state. Director Gregory Nava’s gives the story of Guatemalan siblings Rosa and Enrique’s journey in a melodramatic way. The movie is divided to three main parts, Guatemala, Mexico and United States. The story of Rosa and Enrique’s shows us community, the power of language and culture in different countries.

With a great reputation for its historical significance, ‘Los olvidados’ (1951), a film shot in Mexico City, directed by Luis Buñuel, endorsed the defining point of his profession. Having studied the given excerpt of the script from a scene of the film, this report will not only portray intriguing political, historical and social aspects, but also the phonological, morphological and lexical aspects and how they influence the given content. The geographical location of this film has also proven to be of relevant influence. Buñuel succeeded to attract the wider world's interest into his work as it was his intention to make everyone realise the truth. Ironically, Buñuel being a surrealist director, Los olvidados was not a surreal film. It was the first film directly addressing not only the issues identified with the Mexican society but also Mexican cinema itself. From here, the attributes of Mexican cinema were perpetually replaced.

This narrative speaks volumes about the author’s culture, which describes her religion, as well as the lifestyle of typical Hispanic families. In Latino or Chicano culture, we find that gender as well as religion plays a huge role in the lives of many individuals, causing them to shape a stereotypical kind of culture. Catholicism is one of the major forms of religion in Hispanic and Latin countries due to the influence from the Europeans. This made many of the Latin American Countries adopt this religious practice regardless of their belief. To this day, many practice Catholicism as a way to appeal to cultural norms. We see the importance of religion to the girl’s family, especially her father. Throughout the story we see the girl’s search for her own religious relationship through her abuela instead of the one forced upon her by her parents. The other influence that culture has is on gender roles within the family dynamic. Throughout the story we see the girl made fun of for her hands and for being different. This is because in latin culture girls are supposed to be dainty and gentle. They were not meant to be violent or rash, like the young teenage girl was. The gender roles constructed by culture were what her father tried to assign her into, and her mother enforcing them,

Mexican culture dates far back as the 13th century. This is when the Aztecs were prevalent in northern mexico. Aztecs were a people who were all about war and honor. They made many enemies going to war with smaller tribes and brutally killed their enemies. In the 16th century the Aztecs Empire crumbled due to the invasion led by Hernan Cortez. Disease, superior weapons, and aid of the Aztec’s enemies were all contributing factors to the Aztecs downfall. Fast forward September 16th 1810 when Mexico gained its independence from Spain Mexico's identity started to develop. Mexican culture is defined by many things, its food, its language, its clothing, its art. However, There is one aspect that defines Mexican culture and that is family life. Mexicans have a very rich family life that defines the culture. The way that family is organized and the way each member acts can be traced back to the very beginning. It's a mixture of the indigenous peoples culture as well as the Spaniards culture. The indigenous peoples pass on their ideas of honor and machismo and the Spaniards pass on their ideas of catholicism, and family value and structure. I fit into this because I grew up on these ideas and my family still practices some of these ideas today.

The audience in the arena serves as an audience for Perpetua’s martyrdom. This detail, describing the women, is meant to be persuasive and create empathy amongst the audience, for Perpetua and Felicitas. The readers of the story are supposed to feel sadness over the public humiliation of these women. Especially, because the public humiliation is the result of their strong belief in Christianity. This empathy may cause some readers to convert to Christianity because of the sadness which they feel for the events the women endured. Another way that this example can be used to persuade is by showing that no matter what difficult situations we are in, if we follow God, he will have our back. This situation was one of an immense amount of public embarrassment for the two women. But, because they trusted in God, the women found some sort of comfort in the situation and realized that soon they would be in a better place. Moments before her death, even when she knew what the next few minutes would include, Perpetua spoke saying, “Stand fast in the faith, and love you all one another; and be not offended because of our passion.” (20.13-14) Perpetua showed that no matter what, she was going to be the bigger

Maria’s actions help break the stereotype of women in film and cultural stereotypes that create bias among audiences. Maria is first revealed as a disheveled nun failing to fulfill her duties, she is therefore sent to help with the Von Trapp Family. Typically nuns are viewed as celibate God-fearing women who are strict in their ways and seldom voice out opinions, but rather silently protest and pray away problems. Maria leaves the nunnery for a different lifestyle she breaks the stereotype and is able to stand up for her self, and forces the Captain to be warmer to his children. Maria becomes a symbol of a strong woman who has broken the traditional reliance of a man; instead Maria takes it upon herself to aid the family into safety from Nazi takeover.

According to the movie The Bronze Screen, I understand that the Spanish people started acting in US cinema and specifically in Hollywood from early 20th century. The Spanish cinema started with black and while movie. At the first they act with just Spanish representative, because they want control the American cinema and precisely Hollywood. The Spanish movie was in the first representation without the voice. After that they added the voice. The Mexican movies was increased in Hollywood cinemas because American people like it. However the Mexican actor was good with acting. Hollywood films was increased their Mexican market after the Spanish people participated in the American cinema. Also the people who watching Spanish movies was increased. After that Hollywood America has introduced representatives of the participating representatives Spanish and this was new to the world of cinema reserve America and some people surprise of the piece. Also this changed the way of the Hollywood cinemas also came a new world of movies and actors that is good for the Hollywood cinemas. To conclude that I thing the Spanish movies is good before and now because it give new ideas for movies and the new world of cinema, also a new color for All cinemas.

A Day Without a Mexican is a drama that premiered on May 21st, 2004. The film depicts the disastrous aftermath when all Mexicans disappeared from California. This movie uses a plethora of effects, music, and scenes to drive home the point that Mexicans are more important to America than people realize. Although this movie’s direction was muddled at times, its point is well taken and more relevant today.

Enraged at the young man who once promised her that he would be with her forever, she drove him away. When the time came for the wedding, María stood at the back of the church hoping a miracle would happen. However, the ceremony went on and the young man was married with the girl his parents chose for him. When the ceremony was over, María went home in a crazed state and killed her children, throwing them into a nearby river and then drowning herself. When her soul reached heaven, God denied her entry. God asked her, "Where are your children?" Ashamed, she confessed that she threw them into the river and did not know their whereabouts. "Go and bring them here," the Lord said. "You shall not enter the heaven gate and rest until you have found them." Ever since María, now La Llorona, wanders along streams, creeks, and rivers at night, weeping and crying for her children, "Ay, mis hijos!" (my kids) and "¿Donde están mis hijos?" (where are my kids?). According to those who have seen her, her face is sometimes that of a horse, but often time more horribly blank, and her long fingernails shine like polished tin in the moonlight. It is said that she walks up and down the river late at night taking revenge on guys who are promiscuous and unfaithful to girls. Guys will often look at her and follow her unconsciously down the river. If guys follow her for some period of time, at some point she will grab

In Mexico, men and women are equal in the eyes of the law. However, the man is head of the family. Mexicans use two types of cultural representations to separate the male and female gender roles. The male role is defined by machismo, which is described as violence, power, aggressiveness, and assertive behaviors in sexual situations. For the female role, Mexicans use the Virgin of Guadalupe as an icon. This virgin represents the suffering and sacrifice that women have to make daily for their families. She also represents the submissive, but virtuous woman that Mexican women strive to be. While some still follows these gender roles, the cultural is transforming with urbanization and the roles are shifting (“Mexico”, n.d.)

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.

The release of Gordon Hollingshead and Alan Crosland’s The Jazz Singer in 1927 marked the new age of synchronised sound in cinema. The feature film was a huge success at the box office and it ushered in the era David Bordwell describes as ‘Classical Hollywood Cinema’; Bordwell and two other film theorists (Janet Staiger and Kristin Thompson) conducted a formalist analysis of 100 randomly selected Hollywood films from the years 1917 to 1960 in order to fully define this movement. Their results yielded that most Hollywood made films during that era were centred on, or followed, specific blueprints that formed the finished product. Through this analysis of Hollywood films the theorists were able to establish stylised conventions and modes of