American films are held to certain stereotypes that they are not held at when seen in Mexican films. When watching a movie where Mexicans are involved, you will most likely be watching a comedy, because the American film industry finds it easier to portray Mexicans in more of comedic standpoint. I have noticed there is a significant amount of difference between both Mexican and American films, from having the opportunity of watching both Mexican and American films growing up. The Mexican film industry
Olmos is a well-known director and actor in America. He was born in Los Angeles on February 27, 1949. Although he is famous and rich now, he was raised in a poor family. his father, Pedro Olmos was a welder from Mexico. His mother, Eleanor, was a mail carrier from America. They met in Mexico when his mom went there for travel. When Edward was still young, his dream was to become a baseball player. He once won the championship of the teen’s baseball game. Later, he married a woman called Kaiji Keel
Alfonso Moreno Reyes, or known professionally as Cantinflas. Cantinflas was a Mexican film actor, producer, and screenwriter known for his comedy. He stared in over 55 films including around the world in eighty days. (1956 version) Through his character on the Cantinflas show he became associated as a national identity of Mexico. Mario Moreno Was born on August 12, 1911 in Santa Maria la Ribera neighborhood of Mexico City. His Father Pedro Moreno Sequel was a mail carrier, and his mother is María
master. When asked why he concentrated his business in the newspaper industry, instead of films, he replied, “I thought of it, but I decided against it. Because you can crush a man with journalism, and you can’t with motion pictures.” Orson Welles made a bold career decision to direct and star in Citizen Kane, a very unflattering film loosely based on Hearst’s life. Citizen Kane is now considered by many critics to be the greatest film of all time, but it wasn’t until decades after the film’s release
The film There Will Be Blood directed by Paul Thomas Anderson in 2007 depicts the oil industry through a father and his supposed son. It shows the dangers of drilling for oil and the tears it creates in relationships, which can be conveyed directly by H.W. losing his hearing and being sent away to learn sign language. Near the end of the film after being away for a few years, H.W. returns to Daniel Plainview’s estate. The scene reveals the dark, lonely, yet material object filled home as the camera-work
This is an interesting question so I pulled out my copy of David Bordwell's Film History and... he doesn't have a lot to say. Companies were shooting in LA as early as 1908 and the Selig company set up a studio there in 1910, the New York Motion Picture Company set up a studio in 1909 and starting around that same time Biograph would send D.W. Griffith to L.A. during the winter. As some other people have already mentioned, the MPPC's failed attempt to create a monopoly is part of what drove people
When it comes to film adaptions of comic books, a ceaseless storm of controversy always seemed to follow the release date. Remarkably, Marvel’s Thor takes the cake for unconventional casting which resulted in fan uproars. Directed by Shakespearean devotee, Kenneth Branagh in 2011, Thor stars quite the internationally diverse cast of critically acclaimed actors including Anthony Hopkins and Natalie Portman but the one who managed to raise most eyebrows was the talented, HBOs The Wire Idris Elba, a
In 1907, the migration of filmmakers to southern California began, thus christening Hollywood as the “film capital” of the U.S. According to Pell, “Film historians have commonly argued that movies helped “Americanize” the immigrants, teaching them morals of their adopted country, easing the cultural transition from the Old World to the New” (205). This being said, you can see
techniques that would later be expanded and adapted to different Latin American contexts. Although imported Hollywood cinema accounted for about 80 percent of the Latin American film market in those years, a generation of young filmmakers eager to break with cultural imperialism and the commercialization of Latin America’s film industry cultivated