Cinema of Mexico

In the film industry, we see all different types of films and movies, but there’s always guidelines on what needs to be followed by stereotypes that have been built by society. In the film “The Bronze Screen” it gives us a better understanding on how the system is set up for film making but especially for Latinos in the film industry, Latinos are seen as a minority group who don’t have a lot of changes on making into the big screen, the film explains how Latinos are put in movies to fill the stereotypes

The example that I’m going to show explaining low-angle shot from the scene “The Dark Knight Rise”. We can see a low-angle shot from Bane and his hand holding his jacket, reflecting a posture of mysterious, fearless and menace. Referring to the film “The Dark Knight Rise”. 10. ______________ is when a series of brief shots are edited together to summarize a section of the story. Answer: Montage sequence pg.127 Name one of the reasons filmmakers uses this editing technique. Filmmakers use this

performance, and plot into one package. Each one of these elements might be considered a platform with which to create a narrative, but it is the combination of individual components that ultimately separates the great movies from the merely mediocre. Cinema is frequently watched by the populace of all ages and genders but the color symbolism of the visual aspect is rarely paid attention to. The Director of a film, working closely with the Director of Photography creates a color palette, based on the

In the beginning of the 1930s, Mexico was home to one of the worlds most colorful and diverse film cultures. World War II gave rise to the Golden Age of Mexican cinema, commercially and culturally. The Mexican cinema was founded through its commercial strength. It was an exceptional era during which Mexican Industry challenged Hollywood’s international hegemony throughout the Western hemisphere. During this period there were numerous of popular stars such as Emilio Fernandez, Dolores del Rio, Pedro

represent “chaos cinema” and "slow cinema". Stork claims that, chaos cinema has a very distinct style that "trades visual intelligibility for sensory overload." According to Flanagan, slow cinema emphasizes on "the employment of long takes, decentered and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday...an aesthetic of slow." Strange Days (Kathryn Bigelow) and The Wild Bunch (Sam Peckinpah) are two movies that seem to follow the "classical cinema" formula, and

The Yakuza is very well known to be a testosterone induced gang with traditional Japanese morals and it is incredibly rare to even hear of any type of criminal activity pertaining to the women associated. In films such as Kill Bill directed by Quentin Tarantino, there is the character O-Ren Ishii, who is portrayed by Lucy Liu, who happens to be the leader of Tokyo's biggest Yakuza clan who call themselves “The Crazy 88's.” The character that Liu portrays is a former assassin that looks svelte, refined

sexual violence against women has not been controlled in Mexico and men have been allowed to exert social, economic and social dominance over women (Staudt 2008 35). In the last decade, the violent murder of women because they are women, often referred to as femicide, has become increasingly common throughout Mexico. Despite the increasing frequency of such violence, men who commit these crimes are rarely punished. The government of Mexico has failed to adequately investigate and prosecute these

Mexico doesn’t exist. Mexico is a collection of regions, a mosaic united by force. And now that the nationalism of the revolution, that project has shattered, what brings us together? Football? Criticising Carlos Salinas? Nothing more (media representative, Mexico, 2000). Amores Perros, directed by Alejandro González Iñárritu is a dark, multi-plot film never seems to lose it’s hold on you. The grime within the film, carried by it’s subject matter makes for a very compelling watch. The three storylines

Bunker’s study of Mexico is that the changes that were being accepted by the Mexican population were very often complete contradictions to what was considered traditionally Mexican. Not only does this stand in complete opposition to what was seen in Karush’s Argentina, but in Mexico the “constant reworking of consumer goods and the texts used to sell them… generated the cultural meaning that provided an identity for both the self and the world around them.”(Bunker 97) Once again, Mexico and Argentina

After nearly forty years of ruling in Spain, the dictator of Spain, Francisco Franco, died in 1975. With his death came a transition to democracy which then presented new opportunities for Spain’s cinema that were previously unseen. Spain began to produce films freely after this new found freedom and in 1981 produced a total of 137 films, 45 of which were co-produtions, then followed that up with 146 total films in 1982 . Though this increase in films occurred after the death of Franco, in 1983