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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.
"This is an extremely rigorous, thorough piece of superior scholarship on one of the most important figures in the history of cinema. Benamou introduces a wealth of material on the production process and the repercussions of this project in Latin America, which have been entirely missing from earlier, auteur-centered accounts; this alone makes it a book of great importance. We can't ask for a more definitive, groundbreaking study than the one Benamou has given us."—Bill Nichols, author of Maya Deren and the American Avant-Garde
The author recounts his early years in Brooklyn, struggles to become an actor, work with such stars as Marlon Brando and Marilyn Monroe, and role as one of the earliest members of the famed Actors Studio.
In 1931 Antonio Moreno completed Santa, Mexico's first true sound film. In it he established one of the foremost genres of Latin American cinema--the popular melodrama--which continues to this day. Latin American filmmakers came to the fore in the fifties and sixties and, as 1992's Como agua para chocolate (Like Water for Chocolate) showed, Latin American films continue to be a major part of the international film scene. In this work over 300 of the most significant films from Argentina, Brazil, Cuba, Mexico, Bolivia, Colombia, Ecuador, Peru and other Latin American countries are covered. Each entry includes the English title, director, year of release, running time, language, country and a detailed plot synopsis. Notes about the production and the filmmakers are also provided for many entries.
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.
The many roles played by guns in the old West with personal accounts by many early settlers and hundreds of photos.
In Mexican Melodrama, Elena Lahr-Vivaz explores the compelling ways that new-wave Mexican directors use the tropes and themes of Golden Age films to denounce the excesses of a nation characterized as a fragmented and fictitious construct. Analyzing big hits and quiet successes of both Golden Age and new-wave cinema, the author offers in each chapter a comparative reading of films from the two eras, considering, for instance, Amores perros (Love’s a Bitch, Alejandro González Iñárritu, 2000) alongside Nosotros los pobres (We the Poor, Ismael Rodríguez, 1947). Through such readings, Lahr-Vivaz examines how new-wave directors draw from a previous generation to produce meaning in the present. Mexico’s Golden Age of film—the period from the 1930s to the 1950s—is considered “golden” due to both the prestige of the era’s stars and the critical and popular success of the films released. Golden Age directors often turned to the tropes of melodrama and allegory to offer spectators an image of an idealized Mexico and to spur the formation of a spectatorship united through shared tears and laughter. In contrast, Lahr-Vivaz demonstrates that new-wave directors of the 1990s and 2000s use the melodramatic mode to present a vision of fragmentation and to open a space for critical resistance. In so doing, new-wave directors highlight the limitations rather than the possibilities of a unified spectatorship, and point to the need for spectators to assume a critical stance in the face of the exigencies of the present. Written in an accessible style, Mexican Melodrama offers a timely comparative analysis of critically acclaimed films that will serve as key referents in discussions of Mexican cinema for years to come.
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.
Focusing on four key artists who represent Latin-American modernism: Cesar Vallejo; Gabriela Mistral; Diego Rivera; and Frida Kahlo, Tace Hendrick examines what being 'modern' and 'American' meant for them and illuminates the cultural contexts within which they worked.
Examining key film texts and genres, and set in a broad historical and theoretical context, this student-friendly study provides a thorough and detailed account of the vital and complex relationship between cinema and national identity in Mexico.