Mexico
The cinema of Fernando Méndez
in Capital and popular cinema
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter presents the reader with an entirely different formation: Mexico between the late 1950s and early 1960s, where, unlike in Italy at the time, highly speculative capital interests were at the top of government policy. The chapter traces the rise of Fernando Méndez from an obscure maker of generic films in the 1940s to one of Mexican cinema’s most prominent figures. Méndez’ rise coincided with the film industry’s integration into the Mexican state’s proto-neoliberal agenda. An analysis of Fernando Méndez’ horror films shows that the films stage dimensions of this process. Mexican film historians, in line with their country’s circumstances and dominant interests, have, as a result, always included Fernando Méndez in the history of their cinema, as an auteur of a certain kind of popular films.

Capital and popular cinema

The dollars are coming!

INFORMATION
TABLE OF CONTENTS
METRICS

Metrics

All Time Past Year Past 30 Days
Abstract Views 43 19 0
Full Text Views 14 7 0
PDF Downloads 14 7 0
RELATED CONTENT