Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. 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. In "Screening Neoliberalism," Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. 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. 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. "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.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonction - Multi-Author Chapter 15 by Carolyn Fornoff is Winner of the 2022 Best Article in the Humanities Award, Latin American Studies Association, Mexico Mexican Literature as World Literature is a landmark collection that, for the first time, studies the major interventions of Mexican literature of all genres in world literary circuits from the 16th century forward. This collection features a range of essays in dialogue with major theorists and critics of the concept of world literature. Authors show how the arrival of Spanish conquerors and priests, the work of enlightenment naturalists, the rise of Mexican academies, the culture of the Mexican Revolution, and Mexican neoliberalism have played major roles in the formation of world literary structures. The book features major scholars in Mexican literary studies engaging in the ways in which modernism, counterculture, and extinction have been essential to Mexico's world literary pursuit, as well as studies of the work of some of Mexico's most important authors: Sor Juana, Carlos Fuentes, Octavio Paz, and Juan Rulfo, among others. These essays expand and enrich the understanding of Mexican literature as world literature, showing the many significant ways in which Mexico has been a center for world literary circuits.

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumiere Cinematographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumiere Cinematographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu's work for the study of Spanish and Latin American literature and culture. The authors deploy Bourdieu's concepts in the study of Modernismo, avant-garde Mexico, contemporary Puerto Rican literature, Hispanism, Latin American cultural production, and more. Each essay is also a contribution to the study of the politics and economics of culture in Spain and Latin America. The book, as a whole, is in dialogue with recent methodological and theoretical interventions in cultural sociology and Latin American and Iberian studies.

Mexican Literature in Theory is the first book in any language to engage post-independence Mexican literature from the perspective of current debates in literary and cultural theory. It brings together scholars whose work is defined both by their innovations in the study of Mexican literature and by the theoretical sophistication of their scholarship. Mexican Literature in Theory provides the reader with two contributions. First, it is one of the most complete accounts of Mexican literature available, covering both canonical texts as well as the most important works in contemporary production. Second, each one of the essays is in itself an important contribution to the elucidation of specific texts. Scholars and students in fields such as Latin American studies, comparative literature and literary theory will find in this book compelling readings of literature from a theoretical perspective, methodological suggestions as to how to use current theory in the study of literature, and important debates and revisions of major theoretical works through the lens of Mexican literary works.

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu's work for the study of Spanish and Latin American literature and culture. The authors deploy Bourdieu's concepts in the study of Modernismo, avant-garde Mexico, contemporary Puerto Rican literature, Hispanism, Latin American cultural production, and more. Each essay is also a contribution to the study of the politics and economics of culture in Spain and Latin America. The book, as a whole, is in dialogue with recent methodological and theoretical interventions in cultural sociology and Latin American and Iberian studies.

A History of Mexican Literature chronicles a story more than five hundred years in the making, looking at the development of literary culture in Mexico from its indigenous beginnings to the twenty-first century. Featuring a comprehensive introduction that charts the development of a complex canon, this History includes extensive essays that illuminate the cultural and political intricacies of Mexican literature. Organized thematically, these essays survey the multilayered verse and fiction of such diverse writers as Sor Juana Ines de la Cruz, Mariano Azuela, Xavier Villaurrutia, and Octavio Paz. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of colonialism and multiculturalism in Mexican literature. This book is of pivotal importance to the development of Mexican writing and will serve as an invaluable reference for specialists and students alike.

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. 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. In Screening Neoliberalism, Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. 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. 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. 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.

A History of Mexican Literature chronicles a story more than five hundred years in the making, looking at the development of literary culture in Mexico from its indigenous beginnings to the twenty-first century. Featuring a comprehensive introduction that charts the development of a complex canon, this History includes extensive essays that illuminate the cultural and political intricacies of Mexican literature. Organized thematically, these essays survey the multilayered verse and fiction of such diverse writers as Sor Juana Ines de la Cruz, Mariano Azuela, Xavier Villaurrutia, and Octavio Paz. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of colonialism and multiculturalism in Mexican literature. This book is of pivotal importance to the development of Mexican writing and will serve as an invaluable reference for specialists and students alike.

Mexican Literature in Theory is the first book in any language to engage post-independence Mexican literature from the perspective of current debates in literary and cultural theory. It brings together scholars whose work is defined both by their innovations in the study of Mexican literature and by the theoretical sophistication of their scholarship. Mexican Literature in Theory provides the reader with two contributions. First, it is one of the most complete accounts of Mexican literature available, covering both canonical texts as well as the most important works in contemporary production. Second, each one of the essays is in itself an important contribution to the elucidation of specific texts. Scholars and students in fields such as Latin American studies, comparative literature and literary theory will find in this book compelling readings of literature from a theoretical perspective, methodological suggestions as to how to use current theory in the study of literature, and important debates and revisions of major theoretical works through the lens of Mexican literary works.

Cavernosa, usualmente fria, siempre oscura, con un ligero olor a palomitas de maiz en el aire: la experiencia de ir al cine es universal. No es menos intensa en Mexico, donde la experiencia ha evolucionado de formas complejas en anos recientes. Peliculas como Y tu mama tambien, El Mariachi, Amores perros y las obras de los paradigmaticos Guillermo del Toro y Salma Hayek, reflejan mucho mas un renovado interes por el cine en Mexico. En La proyeccion del neoliberalismo, Ignacio Sanchez Prado explora precisamente los eventos que tuvieron lugar en la industria del cine mexicano durante las ultimas decadas. Lejos de ser una simple historia del periodo, La proyeccion del neoliberalismo examina cuatro aspectos esenciales de las transformaciones ocurridas en la industria del cine mexicano: la caida del nacionalismo, un nuevo enfoque en audiencias de clase media, la redefinicion del concepto de cine politico y el impacto de la globalizacion. Este analisis incluye a directores y peliculas que han alcanzado notoriedad internacional o relevancia en la construccion de un mercado nacional. La proyeccion del neoliberalismo expone las consecuencias de una industria del cine forzada a encontrar nuevas audiencias entre la clase media mexicana para poder alcanzar el ansiado exito economico y la aprobacion cultural.

Honorable Mention from the 2022 International Latino Book Awards for Best Nonction - Multi-Author Chapter 15 by Carolyn Fornoff is Winner of the 2022 Best Article in the Humanities Award, Latin American Studies Association, Mexico Mexican Literature as World Literature is a landmark collection that, for the first time, studies the major interventions of Mexican literature of all genres in world literary circuits from the 16th century forward. This collection features a range of essays in dialogue with major theorists and critics of the concept of world literature. Authors show how the arrival of Spanish conquerors and priests, the work of enlightenment naturalists, the rise of Mexican academies, the culture of the Mexican Revolution, and Mexican neoliberalism have played major roles in the formation of world literary structures. The book features major scholars in Mexican literary studies engaging in the ways in which modernism, counterculture, and extinction have been essential to Mexico's world literary pursuit, as well as studies of the work of some of Mexico's most important authors: Sor Juana, Carlos Fuentes, Octavio Paz, and Juan Rulfo, among others. These essays expand and enrich the understanding of Mexican literature as world literature, showing the many significant ways in which Mexico has been a center for world literary circuits.

In Naciones intelectuales, Ignacio M. Sanchez Prado explores the processes and works that laid the foundations of a new literary modernity in the wake of the Mexican Revolution. Focusing on a period that goes from the signing of the Constitution in 1917 to the death of Alfonso Reyes in 1959, Sanchez Prado centers his analysis on the way in which four elements of Mexican cultural practice - the notion of literature, the figure of the intellectual, the creation of academic institutions and the definition of national identity - emerged through the various debates held by leading figures of the period. Through an appropriation of Pierre Bourdieu's notion of 'literary field', the book analyzes different key moments, controversies, and cultural interventions, which ultimately led the diverse aesthetic spectrum created by the Revolution into becoming a highly institutional system of literature. Sanchez Prado's work deals with a wide range of writers, including Alfonso Reyes, Jorge Cuesta, Manuel Maples Arce, Ramon Lopez Velarde, Francisco Monterde, Jose Gaos, the Hiperion philosophers, and Octavio Paz. As a result, this books offers a cartography of Mexican literary institutions unprecedented in scope, which will allow readers, students, and scholars to understand the construction of modern Mexican literature in a clear, rigorous, and systematic way.

Cavernosa, usualmente fria, siempre oscura, con un ligero olor a palomitas de maiz en el aire: la experiencia de ir al cine es universal. No es menos intensa en Mexico, donde la experiencia ha evolucionado de formas complejas en anos recientes. Peliculas como Y tu mama tambien, El Mariachi, Amores perros y las obras de los paradigmaticos Guillermo del Toro y Salma Hayek, reflejan mucho mas un renovado interes por el cine en Mexico. En La proyeccion del neoliberalismo, Ignacio Sanchez Prado explora precisamente los eventos que tuvieron lugar en la industria del cine mexicano durante las ultimas decadas. Lejos de ser una simple historia del periodo, La proyeccion del neoliberalismo examina cuatro aspectos esenciales de las transformaciones ocurridas en la industria del cine mexicano: la caida del nacionalismo, un nuevo enfoque en audiencias de clase media, la redefinicion del concepto de cine politico y el impacto de la globalizacion. Este analisis incluye a directores y peliculas que han alcanzado notoriedad internacional o relevancia en la construccion de un mercado nacional. La proyeccion del neoliberalismo expone las consecuencias de una industria del cine forzada a encontrar nuevas audiencias entre la clase media mexicana para poder alcanzar el ansiado exito economico y la aprobacion cultural.

Strategic Occidentalism examines the transformation, in both aesthetics and infrastructure, of Mexican fiction since the late 1970s. During this time a framework has emerged characterized by the corporatization of publishing, a frictional relationship between Mexican literature and global book markets, and the desire of Mexican writers to break from dominant models of national culture. In the course of this analysis, Ignacio M. Sanchez Prado engages with theories of world literature, proposing that "world literature" is a construction produced at various levels, including the national, that must be studied from its material conditions of production in specific sites. In particular, he argues that Mexican writers have engaged in a "strategic Occidentalism" in which their idiosyncratic connections with world literature have responded to dynamics different from those identified by world-systems or diffusionist theorists. Strategic Occidentalism identifies three scenes in which a cosmopolitan aesthetics in Mexican world literature has been produced: Sergio Pitol's translation of Eastern European and marginal British modernist literature; the emergence of the Crack group as a polemic against the legacies of magical realism; and the challenges of writers like Carmen Boullosa, Cristina Rivera Garza, and Ana Garcia Bergua to the roles traditionally assigned to Latin American writers in world literature.