By M. MacLaird
Comparing a wide number of Mexican movies made from the early Nineties to the current, this learn examines how creation tools, viewers demographics, and aesthetic ways have replaced during the prior 20 years and the way those alterations relate to the country's transitions to a democratic political method and a free-market economic climate.
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Extra resources for Aesthetics and Politics in the Mexican Film Industry
It also noted the new role of “brokers” in film production and the misappropriation of funding intended for creative work toward commissions to financial agents. It observed a tendency of films produced with EFICINE funding to align ideological content with the views of investors and lamented that because the tax credits were given for investment in production, there was no real commitment to distributing the film once produced (IMCINE 2012b, 17). In sum, the stimulus has acted more as a tax shelter than as an incentive to invest in cinema, as was the case when Canada introduced tax credits for film production in the 1970s.
In some ways, the new form of private production seemed to be offering the potential to do everything the state did, and more. Altavista and Anhelo, both supported by two of Mexico’s largest corporations, combine the need for artistic innovation and commercial viability in their products, including their desire to give work to new talent and explore new topics and visions (Smith 2003b, 395). As previously mentioned, the success of the films presents an argument for the interdependence of these two elements—which are designated as antithetical by IMCINE’s division of funding.
García Canclini 1995, 59) By the end of the 1990s, these two “styles of cultural action” certainly coexisted as production models for Mexican cinema, with state production subsidizing cinema as cultural and artistic heritage and new producers catering to the new globalized audience’s demand for aesthetic changes. However, the Mexican state’s interest after 2000 extended beyond the aforementioned role, and the implementation INDUSTRY AND POLICY 39 of FIDECINE in 2001 and EFICINE 226 in 2007 is also evidence of the state’s interest in participating in and stimulating the latter model: as a participant, it is even further legitimized as helping the nation keep pace with the global media market, while the legislation to stimulate private investment fosters economic growth.