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The Lost Cinema of Mexico is the first volume to challenge the
dismissal of Mexican filmmaking during the 1960s through 1980s, an
era long considered a low-budget departure from the artistic
quality and international acclaim of the nation's earlier Golden
Age. This pivotal collection examines the critical implications of
discovering, uncovering, and recovering forgotten or ignored
films.This largely unexamined era of film reveals shifts in Mexican
culture, economics, and societal norms as state-sponsored
revolutionary nationalism faltered. During this time, movies were
widely embraced by the public as a way to make sense of the rapidly
changing realities and values connected to Mexico's modernization.
These essays shine a light on many genres that thrived in these
decades: rock churros, campy luchador movies, countercultural
superocheros, Black melodramas, family films, and chili westerns.
Redefining a time usually seen as a cinematic "crisis," this volume
offers a new model of the film auteur shaped by productive tension
between highbrow aesthetics, industry shortages, and national
audiences. It also traces connections from these Mexican films to
Latinx, Latin American, and Hollywood cinema at large.
The Lost Cinema of Mexico is the first volume to challenge the
dismissal of Mexican filmmaking during the 1960s through 1980s, an
era long considered a low-budget departure from the artistic
quality and international acclaim of the nation's earlier Golden
Age. This pivotal collection examines the critical implications of
discovering, uncovering, and recovering forgotten or ignored
films.This largely unexamined era of film reveals shifts in Mexican
culture, economics, and societal norms as state-sponsored
revolutionary nationalism faltered. During this time, movies were
widely embraced by the public as a way to make sense of the rapidly
changing realities and values connected to Mexico's modernization.
These essays shine a light on many genres that thrived in these
decades: rock churros, campy luchador movies, countercultural
superocheros, Black melodramas, family films, and chili westerns.
Redefining a time usually seen as a cinematic "crisis," this volume
offers a new model of the film auteur shaped by productive tension
between highbrow aesthetics, industry shortages, and national
audiences. It also traces connections from these Mexican films to
Latinx, Latin American, and Hollywood cinema at large.
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