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• W2082099209 abstract "Reviewed by: Microhistorias del cine en México Elissa J. Rashkin (bio) Microhistorias del cine en México Eduardo de la Vega Alfaro Guadalajara: Univ. de Guadalajara: UNAM, IMCINE, Cineteca Nacional & Instituto Mora. 2001. 430 pp. Microhistorias del cine en México1 contains the proceedings of the I Coloquio de Historia del Cine Regional en México, held in Guadalajara in March 2000. The colloquium reflects the process of decentralization that has taken place in Mexican film studies in recent decades. Until the 1980s, most research was national in scope and tended to concentrate on Mexico City, the nation's political, demographic, and film production capital. But as more state universities established film studies programs, and as Mexican historiography in general moved towards paradigms emphasizing regional specificity, film historians began to shift focus to the local and regional levels. The 23 micro-histories included in this text are examples of the diverse scholarship being carried out in this field. Exploratory and revisionist in intent, the essays in Microhistorias are linked primarily by the fact that none of them focus on Mexico City. Yet in shifting our gaze to the provinces, the importance of the metropolis is affirmed. Regional filmmaking appears when regions are physically connected to the capital, in early vistas celebrating the inauguration of rail lines and highways; when urban-based producer-exhibitors bring their work to outlying areas; when local events contain transcendent national importance; and later, when an established film industry, creator and promoter of stereotypes, turns its lenses on the provinces as source of exotic color. Nevertheless, local film industries and cultures, however ephemeral, do arise. Gabriel Trujillo Muñoz reviews attempts to build a film industry in Baja California, while Guillermo [End Page 274] Cerda looks at Monterrey's experimental cinema of the 1960s and 1970s, and Reyna Ochoa recounts Miguel Ruiz's efforts to produce films in his native Queretaro in 1916–1917, the beginning of his long and multifaceted career in national cinema. Furthermore, studies of exhibition and consumption reveal how national and foreign products are integrated into specific local cultures. José Castañeda's legendary film presentations in Zapopan, Jalisco, described by Ana María de la O Castellanos, or Catarino Sosa's film announcements delivered in Spanish and Nahuatl on the streets of Tenango del Valle, Mexico, and documented by Cuitláhuac Martín Gómez Salinas, are suggestive examples that indicate the richness of oral history as a source of data, as well as the value of studying cinema as a part of collective memory and experience. Most recently, there is the sui generis case of Chiapas in the 1990s, where, as Isis Saavedra Luna shows, videomakers descended en masse to bear witness to the 1994 EZLN uprising and interpret its origins, impact, and subsequent developments. While the book's diversity of approaches reflects the colloquium's broad agenda, its diversity in quality is less stimulating. The most successful essays define and address a specific issue: for instance, Marco Antonio Flores Zavala shows how film exhibition interacted with local politics in Zacatecas during Francisco I. Madero's presidency, while archivist Fernando Osorio Alarcón describes the process of film archeology using films from Puebla and Tlaxcala as a case study. And Norma Iglesias Prieto continues her important work on border film and its role in the construction of social identities in the bi-national border zone. 2 Other chapters, however, are simply chronological lists of productions or events. A lack of editorial rigor is apparent in the absence of bibliographic references in some essays and in the errors and lack of coherence in others. If part of the book's inconsistency is due to its origins as a set of oral presentations, another part is symptomatic of limitations that critics have found in regional studies in general. Historian Thomas Benjamin has argued that the ambiguous, inconsistent, and frequently contradictory results often produced by regional studies can be remedied by comparative analysis.3 Microhistorias suggests many potential topics for comparative study: use of cinema as a political tool by state governments; exhibition practices in relation to social conditions; invention of the tropics in films shot in Veracruz and Acapulco; and..." @default.
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• W2082099209 title "Microhistorias del cine en Mexico (review)" @default.
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• W2082099209 doi "https://doi.org/10.1353/dis.2005.0020" @default.
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