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Titlebook: Violence, Conflict and Discourse in Mexican Cinema (2002-2015); Miriam Haddu Book 2022 The Editor(s) (if applicable) and The Author(s) 202

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發(fā)表于 2025-3-21 16:26:42 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱Violence, Conflict and Discourse in Mexican Cinema (2002-2015)
編輯Miriam Haddu
視頻videohttp://file.papertrans.cn/984/983155/983155.mp4
概述Analyses both commercially successful and non-commercially successful Mexican films across a thirteen-year span that saw a dramatic increase in the critical and popular attention given to Mexican cine
圖書(shū)封面Titlebook: Violence, Conflict and Discourse in Mexican Cinema (2002-2015); Miriam Haddu Book 2022 The Editor(s) (if applicable) and The Author(s) 202
描述The last two decades have seen dramatic changes to Mexico’s socio-political landscape. A former president fleeing into exile, political assassinations, a rebellion in Chiapas, and the eruption of the so-called war on drugs provide key examples of critical events shaping the nation. This book examines Mexican cinema’s representations of, and responses to, these socio-political moments. Beginning with the definitive year 1994, which saw the?.Ejército Zapatista de Liberación Nacional.?(EZLN) declare war on the Mexican government, the early chapters in this book discuss the outcome of these episodes in subsequent years and how they find screen representation. The study then moves on to provide close readings of key filmic texts as reflections of the so-called narco-war and its effects on Mexican society. Focusing on both fiction and documentary filmmaking, this book explores notions of violence, victimhood, and the complex processing of grief in the context of enforced disappearances and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejand
出版日期Book 2022
關(guān)鍵詞Americas; arts; cinema; culture; directing; documentary film; film; film and television; film history; histor
版次1
doihttps://doi.org/10.1057/978-1-137-28211-8
isbn_softcover978-1-349-67071-0
isbn_ebook978-1-137-28211-8
copyrightThe Editor(s) (if applicable) and The Author(s) 2022
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發(fā)表于 2025-3-21 20:17:56 | 只看該作者
https://doi.org/10.1057/978-1-137-28211-8Americas; arts; cinema; culture; directing; documentary film; film; film and television; film history; histor
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發(fā)表于 2025-3-22 03:39:36 | 只看該作者
Miriam HadduAnalyses both commercially successful and non-commercially successful Mexican films across a thirteen-year span that saw a dramatic increase in the critical and popular attention given to Mexican cine
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發(fā)表于 2025-3-22 05:36:25 | 只看該作者
,Drug Violence and Narco Wars Part I: Luis Estrada’s , (,) (2010),arrate a darker episode in Mexico’s recent history seen in its so-called drug war. By examining one of the earliest cinematic explorations of the social problem, this chapter provides an introductory discussion on a topic that continues to dominate mainstream national and international news headlines.
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littoral States, who favour the establishment of the Ocean as a ‘zone of peace’. The lead in canvassing the proposal has been taken by Sri Lanka, which first raised it at the Non-Aligned Heads of State Conference in Cairo in October, 1964, and subsequently at the Lusaka Conference of Non-Aligned Sta
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發(fā)表于 2025-3-22 17:23:22 | 只看該作者
Miriam Haddu Fifty Years’ Crisis’. It provides a good indication of what he shared with realist thought, but also where he differed from it. It argues, first, that classical realism was a product of its time and that, whatever its earlier strengths, it had now ‘run its course’ and needed to be replaced by a foc
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