Mockumentary as postnationalism: national identity in 'A Day Without a Mexican' by Sergio Arau

The turn to neoliberalism in the 1990s proved decisive for Mexico, as the NAFTA project embraced by the Salinas administration entailed a re-definition of national identity, defined since the revolution as mestizo, Catholic and especially as the Other to the United States. And just as cinema was in those days a crucial discourse for this particular construction of the identity, it was in the 1990s equally instrumental to its redefinition, which largely focused on the role of migrants to the US, presented even as supplementary in the Derridean sense. In 1992, as part of these efforts, Sergio Arau directed a mockumentary which in 2004 became a feature film, ‘A Day Without a Mexican’. As would befit more the seriousness of a documentary than the excess and parody of mockumentary, the stated aim in both was to advance a social agenda, arguing the case for immigrant labour and for Mexican presence in the US more generally. The film charts what would happen in California were all Latino immigrants to suddenly disappear, arguing chaos would ensue. Given the link between cinema and modernity and the relevance of cinema for the nation as an alternative public sphere, this chapter looks at the implications of choosing mockumentary, taken by many to be a paradigmatic postmodern and hybrid form, to discuss the hybridisation of national identity in a transnational film, in the present age of globalisation

Film policy under globalization: the case of Mexico

The changing economic and technological conditions often referred to as ‘globalization’ have had a deep impact on the very nature of the state, and thus on the aims, objectives and implementation of cultural policy, including film policy. In this paper, I discuss the main changes in film policy there have been in Mexico, comparing the time when the welfare state regarded cinema as crucial to the national identity, and actively supported the national cinema at the production, distribution and exhibition levels (about 1920-1980), and the recent onset of neoliberal policies, during which the industry was privatized and globalized. I argue the result has been a transformation of the film production, from the properly ‘national’ cinema it was during the welfare state—that is, having a role in nation building, democratization processes and being an important part of the public sphere—into a kind of genre, catering for a very small niche audience both domestically and internationally. However, exhibition and digital distribution have been strengthened, perhaps pointing towards a more meaningful post-national cinema

Negotiating national identity on film: competing readings of Zhang Yimou’s 'Hero'

How are national identities transformed? If they are mostly narratives of belonging to a community of history and destiny to which people subscribe, those boundary-making procedures that constitute the political field by instituting differences can provide a tentative answer to this question. This paper is concerned with one such cultural practice, namely film-viewing. Globalisation, a boundary-blurring practice, has been the backdrop against which transformations in national identity are often discussed, either bemoaned as cultural imperialism or celebrated as ongoing hybridisation. This piece of research took Zhang Yimou’s controversial film Hero as a point of departure, and asked groups of Chinese audiences how they understood the Chinese identity it conveys. Although it is still a work in progress, provisional results are reported below

The digital option: interpreting independence in Latin American cinema today

Globalisation has transformed “independence” into, at best, “inter-dependence”. In Latin American film, this process has been experienced as a decline in the national productions, now usually co-productions, and a tendency towards the self-exoticising as films cater for a festival-circuit global audience; similarly, theatrical exhibition takes place in one of a handful of the global multiplex complexes. Moreover, narrative film itself has long been regarded as inherently “dependent”, on the conservative sectors that have provided its finance, with the word “independent” referring to authorial features only. However, the very same processes that have allowed for such an unprecedented corporate control of these film industries have also spawned a parallel network of local, regional and national filmmaking, distribution and exhibition through digital media. From the “Mi Cine” project in Mexico to the “Cine Piquetero” in Argentina, digital filmmaking is empowering viewers and restoring agency to local filmmakers. In this paper I argue for this understanding of “independence” in the contemporary cinematic spheres of Latin America: the re-appropriation, amidst the transnationalism of the day, of the democratising potential of cinema that Walter Benjamin once thought was inherent to the medium

Chicano identity and discourses of supplementarity on Mexican cinema: from ‘The Man Without a Fatherland’ (Contreras Torres: 1922) to ‘Under the Same Moon’ (Riggen: 2008)

A radical change took place in Mexican narratives of belonging during the 1990s, when NAFTA was first negotiated. Narratives of migration drastically changed the status of Mexican migrants to the US, formerly derided as ‘pochos’, presenting them as model citizens instead. Following Derrida, I argue the role of the migrant became that of a supplement, which is, discursively, at the same time external to and part of a given unit, standing for and allowing deeper transformations to take place in the whole discourse of bilateral relations and national identity more generally. I use Derrida’s concept of the supplement to discuss changing representations of Chicanos in Mexican cinema, and to assess the extent that they have succeeded in reframing the discourse on national identity, with a focus on gender

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it

Diversity, difference and nation: indigenous peoples on screen in Mexico

This paper draws on constructivist theories of identity that regard the self as, paradoxically, coming into existence through interaction with the other, to investigate the discursive formation of indigenous people in the forging of Mexican national identity. The aim of the essay is to show how difference has been managed and deployed in the establishment of national Mexican identities from independence until the present. This is done with reference to visual culture and film and illustrated with examples from the ‘Golden Age’ as well as ‘the New Mexican Cinema’

A post-structuralist approach to national identity after the Cold War: The case of Mexico.

Despite recognition of the centrality of nationalism for International Relations, there has been comparatively little research from the perspective of this discipline on the way national identities are transformed through time, and on the effect these changes can have in relations among states. Thus the focus of this work on the transformation of Mexican identity in the context of the relation between Mexico and the United States after the end of the Cold War and within the framework of economic integration through NAFTA. The main argument throughout this work is that the meaning of national identity is made through an interaction with the Other, interpreted by means of two sets of discourses: on the one hand, there are those discourses on ethnicity, religion and language that seek to construct a unity out of the people inhabiting a given territory, mainly by pointing out how they are different from those outside territorial boundaries. And on the other, there are the discourses on world politics, which reify the national state as the legitimate political unit of allegiance and construct 'classificatory frameworks' and narratives which shape their interactions. Given the historical link between cinema and national identity, contending representations of the national identity put forward in recent films, both from Hollywood and from Mexico, are analysed to trace the way this process has been forged discursively in the Mexican case, and to assess the degree to which alternative narratives have become successful or failed to hegemonise a new meaning for the national identity

Aboriginal digitalities: indigenous peoples and new media

This article goes beyond considerations of digital media supporting identity and community to discuss the ways in which digital technology itself resembles and even parallels traditional indigenous means of producing and sharing knowledge and of experiencing time and space. Drawing from examples ranging from Aztec maps that represented time-space units simultaneously, through discussing indigenous codex and glyphs in which visual language is able to convey meaning using simultaneity rather than chronological narration, to the use of performance for durable cultural storage and transmission, this article points to the many areas of convergence between the multimodal communication that digital media increasingly enable and ancestral practices of indigenous peoples around the world