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Mexican Cinema

Mariana Ayón RV by Mariana Ayón RV
August 15, 2024
in Español, World Cultures
Reading Time: 10 mins read
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Although the Mexican film industry does not have as much popularity as the American Hollywood industry, however, at the end of the 19th century by order of former president Porfirio Díaz, who closely followed international innovations in order for Mexico to position itself as one of the world’s powers, film productions began in Mexico.

Porfirio Díaz, upon becoming aware of the development of the Lumière brothers, considered it appropriate that Mexico not be left behind. Thus, in 1896 he arranged for Gabriel Veyre and Claude Ferdinand Von Bernard to come to Mexico not only with the purpose of presenting the new invention, but also to carry out the first mexican productions.

In this period of 1896, 35 short documentaries were filmed that lasted just some seconds. In one of these films, Porfirio Díaz himself appeared riding a horse in the Chapultepec forest. They called this tape of just 30 seconds: “Le président en promenade.” This recording was premiered in August 1896 at the Chapultepec Castle and there is still a record and can even be found on the internet.

After this, it was in 1916 when the first feature film titled: ¡Los libertadores de México!

Mexican cinema followed a school that perhaps without much thought was started by former president Porfirio Díaz, as the reaffirmation of what is Mexican as a national unified identity. 

In 1929, the short film “El inocente” was released, which was considered as a sound film, even when the audio was not recorded along with the tape, so that the audios were played synchronously with many dissociations.

In 1932, with the film: “Santa”, the first sound film that was filmed with audio was released. Thus, Mexico was the first country in Latin America to film a feature-length sound film with the optical system Rodríguez Sound Recording System, the Mexican sound system, by Joselito Rodríguez.

Then, there was the period of the Golden Age of Mexican Cinema, which was from 1936 to 1956. This peak of splendor for Mexican cinematography premiered with the film: “Allá en el Rancho Grande” in 1936. 

One of the characteristics of Mexican golden cinema was the music, which meant that during the film were songs that past down in the history of Mexican ranchera music.

In the golden cinema, the brave Mexican was portrayed, with tequila, mariachi and serenades, a man that carry a gun and was romantic, following, however, the values ​​of the chivalry of the Spanish golden centuries with his works of tangles, skirts and swords; Now, tangles, weapons and skirts.

The Mexican golden cinema also portrayed the change of women in the society of the time, from a selfless woman to a strong woman like La Doña María Félix and Lola Beltrán.

With a cast including Pedro Infante, Jorge Negrete, La Doña María Félix, Sara García, Tin Tán, Mauricio Garcés, Flor Silvestre, Dolores del Río, Emilio El Indio Fernández, Antonio Aguilar, Lola Beltrán. Stories that portrayed the values ​​of the new Mexican society of the capital, the province and rural life were brought to the big screen.

El Cine Mexicano

Si bien, la industria del cine mexicano no cuenta con tanta popularidad como la industria estadounidense de Hollywood, no obstante, a finales del siglo XIX por mandato del expresidente Porfirio Díaz, quien seguía de cerca las innovaciones internacionales en aras de que México se colocara como una de las potencias del mundo, las producciones cinematográficas comenzaron en México. 

Porfirio Díaz, al darse por enterado del desarrollo de los hermanos Lumière, consideró apropiado que México no se quedara atrás. Siendo así, en 1896 logró que Gabriel Veyre y Claude F. Von Bernard vinieran a México no sólo con el propósito de presentar el nuevo invento, sino también de llevar a cabo las primeras producciones. 

En este periodo de 1896 se filmaron 35 documentales cortos que alcanzaban una duración de apenas algunos segundos. En una de estas filmaciones apareció el mismo Porfirio Díaz paseando a caballo en el bosque de Chapultepec; a esta cinta de apenas 30 segundos la llamaron: “Le président en promenade”. Esta grabación fue estrenad en agosto de 1896 en el Castillo de Chapultepec y aún se tiene registro e incluso se puede encontrar en internet.

Posterior a esto, fue en 1916 cuando se filmó el primer largometraje titulado: ¡Los libertadores de México!

El cine mexicano seguía una escuela que quizá sin mucho pensarlo inició el expresidente Porfirio Díaz, la reafirmación de lo mexicano como identidad nacional. 

En1929 se estrena el cortometraje: “El inocente”, que se consideraba sonoro, incluso cuando el audio no fue grabado junto con la cinta, de manera que los audios se reproducían de manera sincronizada.

En 1932, con la película: “Santa”, sale el primer largometraje sonoro que se filma con audio. Siendo así México el primer país de Iberoamérica en filmar un largometraje sonoro con el sistema óptico Rodríguez Sound Recording System, el sistema sonoro mexicano, de Joselito Rodríguez. 

Luego, se dio el periodo de la Época de Oro del Cine Mexicano, que fue de 1936 a 1956. Este auge de esplendor para la cinematografía de México se estrenó con la película: “Allá en el Rancho Grande” en 1936. Una característica del cine de oro mexicano fue cine musical, es decir, gran parte de la película contenía canciones que pasaron a la historia de la música ranchera mexicana. 

En el cine de oro se retrató al mexicano valiente, de tequila, mariachi y serenatas, un hombre de armas y romántico, siguiendo, si bien, los valores de la caballería de los siglos de oro español con sus obras de enredos, faldas y espadas, ahora, enredos, armas y faldas. 

El cine de oro mexicano retrató también el cambio de la mujer en la sociedad de la época, una mujer abnegada a una mujer fuerte como La Doña María Félix y Lola Beltrán.

Con un elenco entre los que destacaron Pedro Infante el ícono, Jorge Negrete, La Doña María Félix, Sara García, Tin Tán, Mauricio Garcés, Flor Silvestre, Dolores del Río, Emilio El Indio Fernández, Antonio Aguilar, Lola Beltrán. Se llevaron a la pantalla grande historias que retrataban los valores de la nueva sociedad mexicana de la capital, de la provincia y de la vida rural.

Tags: artMovies
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Mariana Ayón RV

Mariana Ayón RV

Mexican poet and writer. Interested in hispanic-latinamerican cultures. Settled in Mexico, she is currently studying a Master's Degree in History.

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