Nacionals representations in advertising campaigns of Televisa (México), 1989-2010

Desde primitivos spots con música mexicana e imágenes de diversas ciudades con la narración de un locutor diciendo “¡Viva México!”, hasta la sofisticada campaña publicitaria del año 2010 para celebrar el Bicentenario de la Independencia y el Centenario de la Revolución que involucró un gran equipo de técnicos, cámaras, locaciones y presupuesto, los spots de Televisa han sido pieza clave para la construcción visual de la nación mexicana. ¿Cuál ha sido ese discurso visual sobre México? ¿Cómo los spots han construido la unidad nacional del país? ¿Se ha modificado la representación televisiva de México en estos spots a lo largo de los años? Precisamente proponemos un análisis de la construcción de la nación mexicana en la segunda mitad del siglo XX y principios del XXI desde la perspectiva de los spots nacionalistas que Televisa produjo entre 1989 y 2010.From simple, unpolished spots projecting images of various cities backed by typical Mexican music with an announcer shouting “¡Viva México!”, to the highly sophisticated 2010 advertising campaign produced to celebrate the country’s Bicentennial Anniversary of Independence and Centennial of the Revolution, which involved a huge collection of technicians, cameras and locations and an ample budget, Televisa’s spots have long been a keystone of the visual construction of the Mexican nation. What is the nature of this visual discourse on Mexico, and how have these spots contributed to building national unity there? Has the representation of Mexico projected in these televised spots changed over these to years? This thesis proposes analyzing the construction of the Mexican nation in the second half of the 20th and the early 21st centuries from the perspective of the nationalistic Mexican spots that Televisa produced and transmitted between 1989 and 2010

The Eagle and the Serpent on the Screen, the State as Spectacle in Mexican Cinema

Recent studies of the history of Mexican cinema continue to speak of the complex relations between the state and the film industry, and the most frequently analyzed aspects tend to be the same: the reach and forms of censorship, as well as the financial dependence on the state. To broaden this perspective, I propose a classification of cinematic discourses that represent the relations between film characters and state powers. I discuss four basic modes of representation that, determined by historical and economic circumstances, reflect and mediate the attitudes and dispositions of viewers toward the political regime. For each mode, I discuss a sequence in a paradigmatic film, analyzing visual and ideological aspects in relation to the political moment at the time of the film\u27s release. Finally, I argue that, despite the resurgence of the Mexican cinema and a more critical tone in its approach to state institutions, fictional films still rest on indirect and allegorical representations of recent events. This is due to the uncertainty of the prolonged and still-incomplete transition to institutional democracy in Mexico

Murals In Motion: Mexican Muralism On The Silver Screen And Its Place In Culturally Sustaining Pedagogy

This research focuses on Mexican Muralism as a part of an educational initiative introduced following the Mexican Revolution of 1910. Functioning as a didactic art form, the intention of the murals was to educate the masses about its history, new national identity and promising modern future. This work not only examines Mexican Muralism and its recurring themes and representation of Indigenous subjects, but also tracks the appearance of these images from mural walls to movie screens in Mexican film of the Golden age. Using the 21st century theory developed by Django Paris and Samy Alim, Culturally Sustaining Pedagogy, this work asserts and finds that elements of the pedagogical theory, however small, can be traced from the Mexican Muralism movement of the 1920s to Golden Age films of the mid 20th century and finally in the 21st century where the theory is established. Previous research in this area emphasizes the transference of imagery and subject matter from wall to screen with little connection to its lasting impact in modern film nor to pedagogical theory as it relates to potential integration in Latin American Studies curriculum. The purpose of this study is to leverage the artistic products created in post-revolutionary Mexico in the form of muralism and film to gain a more comprehensive understanding of Indigenous representation and the evolution thereof in order to utilize these artforms for their original intended purpose-as didactic artforms meant to educate the public on a nation’s people and history