Alejandro González Iñárritu (Contemporary Film Directors)
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This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change.In studying the international scope of Inarritu's influential films "Amores Perros, 21 Grams, " and "Babel, " Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Inarritu that touches on the themes and subject matter of his chief works."
C O N T E M P O R A R Y F I L M D I R E C T O R S Alejandro González Iñárritu Celestino Deleyto and María del Mar Azcona Alejandro González Iñárritu Contemporary Film Directors Edited by James Naremore The Contemporary Film Directors series provides concise, well-written introductions to directors from around the world and from every level of the film industry. Its chief aims are to broaden our awareness of important artists, to give serious critical attention to their work, and to
of her country on a mural painted by Die go Rivera. She has been summoned by the president of the republic, who is assigning a specific task to each individual as part of his national political project. Each individual matters, and the road to a better future for the country will not be built by a charismatic leader but by joint communal effort. The president’s strategy mirrors the account of the history of Mexico envisioned in Rivera’s crowded mural. The essence and the history of Mexico, the
chicana, a woman who seems equally at home on both sides of the border and facilitates exchanges between communities and identities, as well as embodying the vulnerability and suffering associated with everyday border experience. She is also the new type of cultural citizen produced by the borderlands (xiv–xv), an inhabitant of the third country. At the same time, she is presented from the beginning as the compliant victim of social oppression and, in the story’s dénouement, of the inequalities
environment, while the other two are safely indoors, protected by the pure reds and browns of the family home. The ideological statement implicit in this visual transition is given a more immediate, historically specific explanation: as a consequence of the September 11 terrorist attacks, border-protection policy was strengthened in the United States, including the Mexican border, and immigration legislation was toughened and more strictly enforced. Amelia’s summary deportation may be seen as a
identity (224–25). The country’s long and often traumatic history under the shadow of the northern neighbor may have increased this anxiety. At the same time, perhaps paradoxically, it may have placed it in a better position to assimilate recent cultural developments in which the national begins to lose ground to or at least to be redefined by the global and the transnational. Its identity having been historically shaped under the shadow of other identities, the national may in Mexico find it