Read e-book online Aesthetics and Politics in the Mexican Film Industry PDF

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By M. MacLaird

ISBN-10: 1137319348

ISBN-13: 9781137319340

ISBN-10: 1349435457

ISBN-13: 9781349435456

Comparing a huge collection of Mexican movies made from the early Nineteen Nineties to the current, this research examines how construction tools, viewers demographics, and aesthetic methods have replaced through the prior twenty years and the way those adjustments relate to the country's transitions to a democratic political approach and a free-market economic system.

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Extra resources for Aesthetics and Politics in the Mexican Film Industry

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Unfortunately, Canada’s film industry suffers the same imbalance in the exhibition sector that Mexico’s does, its public funding for feature films receives similar critiques regarding favoritism and conservative selection, and its production sector has become a “maquiladora” for Hollywood studio films, offering large tax incentives for foreign production (Dorland 1996, 115–16; McIntosh 2008). As is the case with INDUSTRY AND POLICY 37 Mexico’s existing 10 percent screen quota, the difficulty in cultural protection is in the state’s willingness to enforce its own policies.

But FIDECINE’s existence has changed the nature of the selection process simply by virtue of 40 AESTHETICS AND POLITICS allowing films to compete within separate, appropriate categories, and IMCINE continues to calibrate the defining criteria between and within the two funds. For example, not long after FIDECINE became a permanent annual fund, FOPROCINE was subdivided into categories of Fiction and Documentary, and subsequently Digital Documentary as well, so that applicants could compete within their genre rather than simply as artistic and/or educational cinema.

In sum, the stimulus has acted more as a tax shelter than as an incentive to invest in cinema, as was the case when Canada introduced tax credits for film production in the 1970s. 1). However, because many of these projects received support through EFICINE, the percentage of films with state involvement has also increased (IMCINE 2012b, 14). Of the films supported by the fund, 83 percent were for opera prima, 16 percent for second and third works, and only 1 percent for career directors (IMCINE 2012a, 19).

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Aesthetics and Politics in the Mexican Film Industry by M. MacLaird


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