By M. MacLaird
Comparing a extensive choice of Mexican motion pictures made from the early Nineties to the current, this research examines how creation equipment, viewers demographics, and aesthetic ways have replaced during the prior 20 years and the way those adjustments relate to the country's transitions to a democratic political process and a free-market economic climate.
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Additional info for Aesthetics and Politics in the Mexican Film Industry
For Smith, Bordieu’s notion of habitus explains the reaffirmation of economic alignments, making artistic freedom appear to be both the result of nonstate production and the route to profitability. The correlation of concepts is not spontaneous and organic, but is naturalized through its concurrence. ” 42 AESTHETICS AND POLITICS In his 2005 definition of postindustrial Mexican cinema, Juan Carlos Vargas comments that there are four aspects of the industry that have kept it afloat despite its economic decline since the Salinas years: Government support through the Mexican Film Institute [which acts as] coproducer and point of contact for securing financing, as well as channels of distribution and promotion; .
Altavista first launched the satirical thriller Todo el poder, which offered a lighthearted critique of the Mexico City police force while also speaking to the growing fears of the new upper-middle-class spectator. In the summer of 2000, during the months before the presidential elections, Altavista launched their second film, Amores perros, with an unprecedented media and merchandising campaign. The international success of Amores perros and Y tu mamá también, both financed by new independent producers with private backing, was at once an argument in favor of the creative freedom open to independent filmmakers—or 38 AESTHETICS AND POLITICS at least those with financing—and a gleam of hope for the viability of overall industry success should the whole process be given over to market demands.
But the apprehension expressed by many veteran filmmakers when the topic of privatization was set forth by Fox in 2003 is illustrative of the skepticism regarding the fate of artistic and cultural production under neoliberal policy. Miller and Yudice point out the complexity of cultural production and policy during political–economic transitions, giving examples from Latin America nations in which authoritarian political were phased out in favor of democracy and free markets, and as a result lost institutional state support for mass-media, such radio, television, and cinema (2002, 100–104).
Aesthetics and Politics in the Mexican Film Industry by M. MacLaird