Constructing the Image of the Mexican Revolution: Cinema and by Zuzana M. Pick

By Zuzana M. Pick

With a solid starting from Pancho Villa to Dolores del Río and Tina Modotti, developing a twin of the Mexican Revolution demonstrates the an important function performed via Mexican and overseas visible artists in revolutionizing Mexico's twentieth-century nationwide iconography. Investigating the convergence of cinema, images, portray, and different photo arts during this method, Zuzana decide illuminates how the Mexican Revolution's timeline (1910-1917) corresponds with the emergence of media tradition and modernity.

Drawing on twelve foundational motion pictures from Que Viva Mexico! (1931-1932) to And Starring Pancho Villa as Himself (2003), decide proposes that cinematic photos mirror the picture repertoire produced in the course of the revolution, frequently taking part in on present nationalist topics or on folkloric motifs designed for export. finally illustrating the ways that modernism reinvented latest signifiers of nationwide identification, developing a dead ringer for the Mexican Revolution unites historicity, aesthetics, and narrative to counterpoint our knowing of Mexicanidad.

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By Zuzana M. Pick

With a solid starting from Pancho Villa to Dolores del Río and Tina Modotti, developing a twin of the Mexican Revolution demonstrates the an important function performed via Mexican and overseas visible artists in revolutionizing Mexico's twentieth-century nationwide iconography. Investigating the convergence of cinema, images, portray, and different photo arts during this method, Zuzana decide illuminates how the Mexican Revolution's timeline (1910-1917) corresponds with the emergence of media tradition and modernity.

Drawing on twelve foundational motion pictures from Que Viva Mexico! (1931-1932) to And Starring Pancho Villa as Himself (2003), decide proposes that cinematic photos mirror the picture repertoire produced in the course of the revolution, frequently taking part in on present nationalist topics or on folkloric motifs designed for export. finally illustrating the ways that modernism reinvented latest signifiers of nationwide identification, developing a dead ringer for the Mexican Revolution unites historicity, aesthetics, and narrative to counterpoint our knowing of Mexicanidad.

Show description

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Additional info for Constructing the Image of the Mexican Revolution: Cinema and the Archive

Example text

It records the soldiers’ reactions, sometimes fearless and sometimes cautious, to the cannon’s recoil and the mortar fire. 3. Epics of the Revolution, film still. Courtesy of the Archivo Toscano, Mexico the film scenes is their narrative dimension. If the framing and the composition codify space as the object of representation in the postcards, the immediacy and duration effects endow the filmed images with historical meaning. Temporality is equally central to the Teoloyucan sequence. The fixed position of the camera, just behind the Constitutionalist officers, reveals a full view of the Camino de Cuautitlán, where Victoriano Huerta’s troops surrendered the capital to the Obregón forces.

As Miquel points out, these films “barely managed to run for three days. Cinematic language had changed some time ago and to see these fixed 26 Constructing the Image of the Mexican Revolution shots of processions and cannon fire proved unbearably boring for ordinary spectators who were used to the dynamics of Hollywood cinema, and also for those connoisseurs who had, for example, enjoyed Eisenstein’s Battleship Potemkin” (1997, 88). The updated 1935 version received limited circulation because Toscano lacked the monetary resources for marketing and assembling a sound version as distributor Ignacio Rangel had advised (Miquel, 1997, 90).

In the first, filmed by Abitía, the focus is the figure of Carranza on horseback. As in the postcards published at the time, he appears generally in the foreground, his body somewhat angled, with Obregón at his side. With shots taken above street level, or slightly over the heads of the predominantly male crowd, he seems to be swallowed up by the admiring masses. A singular high-angle shot, presumably taken by a cameraman riding on a horse and from behind Ca­ rranza’s head, shows him interacting with those who have come to greet him.

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