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Emilio "El Indio" Fernández pertenecía a una extraña raza de cinestas qui me dejó una impresión imborralbe cuando era un joven soñador y queria convertirme en productor de cine. Lo concoí a traves de mi compañero en actividades hípicas y mentor, John Huston, otro gran director de cine de la Era Dorada de Hollywood. Emilio is mejor conocido por su trabajo come director en la película Maria Candelaria (1944), que ganó el premio Palma de Oro en el Festival de Cannes en 1946. Como actor, intervino en varias producciones cinematográficas tanto en México come en Hollywood. Sus aventuras en la revolución mexicana y su fuga de prisíon y arribo a Hollywood para comenzar una carrera en el cine, es motivo de leyendas.
Emilio was a larger than life character who embodied all the virtues and talents of a real creative artist. He had won the Palm D'Or in Cannes for his film Maria Candelaria immediately after the war and had been a huge celebrity long before I met him. I was privileged to have known him closely as a real friend and mentor and to have heard his amazing story first-hand. I had the managerial habit instilled in me in New York to make notes, so every night I wrote the stories of Emilio relentlessly on bits and pieces of paper. I thought of myself as a budding author with one published novel under my belt, and I thought that I might one day need these notes as references for an article or a novel.
Mexican filmmaking is traced from its early beginnings in 1896 to the present in this book. Of particular interest are the great changes from 1990 to 2004: the confluence of talented and dedicated filmmakers, important changes in Mexican cinematic infrastructure and significant social and cultural transformations. From Nicolas Echevarria's Cabeza de Vaca (1991), to the 1992 releases of Hellboy director Guillermo del Toro's Cronos and Alfonso Arau's Como agua para chocolate, to Alfonso Cuaron's Y tu mama tambien (2001), this work provides a close look at Mexican films that received international commercial success and critical acclaim and put Mexico on the cinematic world map. Arranged chronologically, this edition (originally published in 2005) covers the entire scope of Mexican cinema. The main films and their directors are discussed, together with the political, social and economic contexts of the times.
Edward Wright-Rios examines the much-maligned--and sometimes celebrated--character of Madre Matiana and her position in the development of Mexico.
This updated and expanded edition gives critical analyses of 23 Latin American films from the last 20 years, including the addition of four films from Bolivia. Explored throughout the text are seven crucial themes: the indigenous image, sexuality, childhood, female protagonists, crime and corruption, fratricidal wars, and writers as characters. Designed for general and scholarly interest, as well as a guide for teachers of Hispanic culture or Latin American film and literature, the book provides a sweeping look at the logistical circumstances of filmmaking in the region along with the criteria involved in interpreting a Latin American film. It includes interviews with and brief biographies of influential filmmakers, along with film synopses, production details and credits, transcripts of selected scenes, and suggestions for discussion and analysis.