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• W4313373882 abstract "Reviewed by: Visiones panorámicas al cine mexicano. Teoría, historia y análisis by Lauro Zavala Omar Delgado Visiones panorámicas al cine mexicano. Teoría, historia y análisis Universidad Autónoma de Aguascalientes, 2020 By Lauro Zavala (Compiler) Officially, cinema arrived in Mexico on August 6, 1896, when Gabriel Vayre and Fernandin Von Bernard showed the shorts Arrival of a Train to the Station and Workers Leaving the Factory, to President Porfirio Díaz and his relatives at Chapultepec Castle. Film journalism was born just a few days later, when poet and journalist Luis G. Urbina wrote a chronicle for El Imparcial newspaper in which he described his impressions of one of the first public film screenings. In Mexico the new art was considered mass entertainment at first, 'popular' in a pejorative sense of the term. For that reason, it was not properly analyzed by the intelligentsia. Then, the social earthquake that the Mexican Revolution (1910-1920) represented made it impossible to establish a film industry and, consequently, a professional analysis of its products. It would be decades later—when cinema acquired new discursive tools and moved away from its purely documentary beginnings—that specialized film criticism emerged. Since then, the Seventh Art and its scholars have evolved together, sometimes building new conceptual frameworks to try to encompass such a dynamic and mutable subject. A list of film critics came up then, some of whom are still referential for anyone who tries to write film criticism in México: Hortencia Blanch Pita, Miguel Barbachano Ponce, Jorge Ayala Blanco, and Emilio García Riera. Lauro Zavala (Mexico City, 1954), can be considered an heir of these notable scholars. A full professor at the Autonomous Metropolitan University and one of the most important Mexican theorists of narratological analysis, his research interests range from literature in its shorter genres (micro-story, and short story), to cinema. His works on film criticism are currently considered canonical: Permanencia voluntaria. Cine y espectador (Continuous Show. Cinema and the Spectator, UV, 1994), Elementos del Discurso Cinematográfico (Cinematographic Discourse Elements, UAMX, 2003), and Teoría y práctica del análisis cinematográfico. La seducción luminosa (Theory and Practice of Cinematographic Analysis. The Luminous Seduction, Trillas, 2010) Zavala compiled articles by seventeen authors from a variety of institutions and disciplines for Panoramic Views on Mexican Cinema (Autonomous University of Aguascalientes, 2020), establishing alternate routes and novel methodologies for the study of the Seventh Art. He himself contributes to the volume with the essay The Paradigmatic Model and Ibero-American Romantic Cinema and with the conversation-interview with scholar Ismaíl Xavier (Curitiba, Brazil, 1947), both providing valuable contributions to the subject. The volume is divided into four sections that organize the corpus of works: Reflections and Theoretical Proposals lists new ways of analyzing the cinematographic text from specific examples; Contemporary Mexican Cinema deals with audience reactions to recent genres and films; History and Analysis of Mexican Cinema refers to topics considered national classics of the Seventh Art, and Cinema and Gender Identity questions the representation of characters who are either part of the LGBT+ communities, or have identities subalternized by phenomena such as mental illness. Zavala himself reflects on the content of the book in the introduction: [End Page 206] Se puede observar, entonces, que en este volumen hay un balance entre las aproximaciones panorámicas y las dedicadas a películas individuales; entre las aproximaciones textuales (sobre los géneros del cine de ficción o el documental, el empleo de la cámara o el diseño de la secuencia de créditos); las aproximaciones intertextuales (sobre los procesos de recepción, la identidad urbana o la representación de la naturaleza en el cine mexicano); las aproximaciones contextuales (sobre la representación en el cine de la experiencia histórica, el nacionalismo o la identidad de género) y las aproximaciones subtextuales (incluyendo aproximaciones historiográficas, sociológicas o antropológicas a la representación de las identidades de género en el cine). (12-13) The main quality of this collection of articles is their thematic diversity. The authors seek to establish new routes of analysis for new contemporary..." @default.
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• W4313373882 date "2022-01-01" @default.
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• W4313373882 title "Visiones panorámicas al cine mexicano. Teoría, historia y análisis by Lauro Zavala" @default.
• W4313373882 doi "https://doi.org/10.1353/hcs.2022.0021" @default.
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