Mexican Transnational Cinema in the Twenty-First Century

doi:10.1017/9781108976459.025

Chapter 24 - Mexican Transnational Cinema in the Twenty-First Century

from Part V - Latin American Literature in Global Markets

Published online by Cambridge University Press: 24 November 2022

Maricruz Castro Ricalde and

Tim Havard

Edited by

Mónica Szurmuk and

Debra A. Castillo

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Mónica Szurmuk: Affiliation:
Universidad Nacional de San Martín and National Scientific and Technical Research Council, Argentina
Debra A. Castillo: Affiliation:
Cornell University, New York

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Summary

Is it possible to continue talking about a national cinema at a time when production crews and financing are integrated internationally? How to deal with dichotomies of the national/international, domestic/foreign, interior /exterior, local /global, and other very close notions like identity, citizenship, and migration? In this chapter, I propose a discussion on the impact that artists generate in their environments when they expand global imagery, and how this happens thanks to the differences and diversity they make visible. I focus on two contemporary cases linked to Mexican cinema and one more that dialogues with the first. These are Roma (Cuaron, 2018) and the Guillermo del Toro exhibition En casa con mis monstruos (At Home with Monsters, 2017, 2019), as well as Coco (Unkrich and Molina, 2017). I invite overcome the idea of the nation as a delimited space. But also I argue how the transnational perspective does not entirely explain certain phenomena of territorialization and cultural deterritorialization. The notion of “multiple identities” will be useful for my arguments.

Keywords

national cinemas transnational cinema Mexican cinema Alfonso Cuaron Guillermo del Toro

Type: Chapter
Information: Latin American Literature in Transition 1980–2018 , pp. 372 - 386

DOI: https://doi.org/10.1017/9781108976459.025 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2022

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References

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