Through different filmsthe historian Israel Rodriguez explains in his book “The new cinema and the frozen revolution. Political history of Mexican cinema in the seventies”, the political decisions that affected the change in the film industry.
It was a long process of research work, indicated the author, however he was able to complete his work, thanks to the support of the filmmaker and now director of the National Cinematheque, Alejandro Pelayo, who has also published books referring to the history of Mexican cinema.
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“I analyze how this political history was created in which there were impressive story phenomena. The stories of the South American exiles who became great filmmakers here are part of a broad political history,” said Rodríguez at the presentation of the book in the National Cinematheque.
“There are fundamental pieces to this book, one of them, the book by Charles Ramírez, “Cinema of Solitude.” Part of the central thesis of that debatable, but risky book, that in classic cinema there were a series of conventions that allowed the public and the industry Mexican film They had a very stable common place. The roles were already defined, what the mother, the father, the son were like, the process of stability and innovation was totally balanced, so that people saw a new film, but they knew what place they were going to occupy in that film, what What happens at the break in the 70s is that there is a crisis of representation, the public gets upset because they cannot identify with the films“, expressed the author.
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“Something I liked about book was that censorship is seen as a round-trip negotiation process, it talks about the practices of directors to avoid having their work censored by setting up some traps for the censor, such as movie of Mexico, Mexico, ra ra ra by Gustavo Alatriste, who makes allusions to Luis Echeverría, disqualifying the presidential figure because he knows that that is what they are going to censor, because he cares more about the other messages that are said and that are much sharper.
“This treatment of censorship tells us that it is not a unilateral process but rather something very complex,” said historian Lucero Fragoso in the presentation.
