Mexploitation

Mexploitation (sometimes called Cabrito Western[1] or Mexican video-home)[2] is a film genre of low-budget films that combine elements of an exploitation film and Mexican culture or portrayals of Mexican life within Mexico often dealing with crime, drug trafficking, money and sex.

El Mariachi 01
El Mariachi (1992) is a noted Mexplotiation film

Mexican narcocinema

The Mexican narco-cine (Spanish for narco-cinema)[3] or narco-películas (Spanish for narco-films/narco-movies),[4] are a subgenre of the Mexploitation style films,[5] focused solely on the violence and luxurious lives of drug lords and cartels.[6] The title and the storyline of these films are usually inspired by popular narco corridos (drug ballads, drug songs),[7] and are marketed as low budget[8] tie-in merchandising to the narcocorrido songs.[9] Sometimes these films feature famous narco-corrido singers on them,[10] and are rumored to be financed by drug lords themselves. However, only a few such cases have been proven.[11]

Common qualities

The typical Mexploitation film takes place in major cities and drugs, sex, and crime are nearly always involved. These movies are usually low-budget and are filmed in a couple of weeks. They typically feature one or two B-movie actors in major roles with the rest of the cast being played by unknown actors.

Mexploitation movies made in the 1960s and 1970s in Mexico were closer to their American exploitation film counterparts, with low-budget science-fiction films that often starred Mexican luchadores such as El Santo and Huracan Ramirez. However, in the early 1980s and 1990s there was a notable change with films increasingly dealing with real-life issues such as drug cartels and the murders of their rivals. Notable actors in these films include Mario Almada, Hugo Stiglitz, Sergio Goyri, Valentin Trujillo, Jorge Reynoso, Rodolfo de Anda, Fernando Almada, Rosa Gloria Chagoyán and David Reynoso.

The director Robert Rodriguez has been considered a pioneer of Mexploitation in the United States. His first film, El Mariachi, contains many Mexploitation elements and his 2007 film, Planet Terror, contained a fake trailer which developed into a feature film called Machete (2010), which contains many familiar elements of the genre.

K. Gordon Murray

An exploitation film producer and distributor named K. Gordon Murray created a unique collection of horror films in Mexico which began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios, to the lucha libre horror films featuring El Santo and the "Wrestling Women" alongside the 1959 Christmas classic "Santa Claus", these low-budget films are still notably campy and inspired a small cult following.

See also

References

  1. ^ "Pistoleros famosos revela la identidad regional". Milenio.
    - "El Cabrito-Western".
    - "El cine cabrito". CONTRALINEA.COM.MX - Periodismo de investigación.
  2. ^ "Sangre, apuros y chingadazos: ¡viva el videohome mexicano!". VICE.
  3. ^ "Mexican Narco Cinema - VICE - México". VICE.
  4. ^ "El Universal - Espectáculos - Millones de latinos compran narcopelículas". El Universal. 11 August 2015.
  5. ^ "Narco Cinema".
    - "Cinefagia y Cinegarage te invitan al taller "Bizarre cinema. El lado oscuro del cine", en Cine Tonalá. INSCRIPCIONES ABIERTAS". revistacinefagia.com.
  6. ^ "BBC Mundo - Noticias - México: la violencia del narco, al cine".
  7. ^ Micaela Arroyo. "Tijuana, la meca del 'narcocine'". Milenio.
    -"CorridosAlterados.Net". CorridosAlterados.Net.
    -"Narco Peliculas".
  8. ^ "Actué en una película de 'narcotraficantes'". diez4.com.
  9. ^ "Fabián López - IMDbPro".
    -"El Universal - - Pozolero y Muletas, estrellas de narcofilm". 18 June 2013.
  10. ^ Alex Tieleman (25 September 2011). "Alfredo Ríos, "El Komander", la voz de los narcocorridos mexicanos".
  11. ^ "El Universal - Espectáculos - 'Narcos fueron actores'". El Universal. 3 September 2015.
    - "'La Barbie' habla de otros capos y de la película inspirada en él".
Acid Western

Acid Western is a subgenre of the Western film that emerged in the 1960s and 1970s that combines the metaphorical ambitions of critically acclaimed Westerns, such as Shane and The Searchers, with the excesses of the Spaghetti Westerns and the outlook of the counterculture of the 1960s. Acid Westerns subvert many of the conventions of earlier Westerns to "conjure up a crazed version of autodestructive white America at its most solipsistic, hankering after its own lost origins".

Blue Demon

Alejandro Muñoz Moreno (April 24, 1922 – December 16, 2000), better known by the ring name Blue Demon (Demonio Azul in Spanish), was a Mexican film actor and luchador enmascarado (Spanish for masked professional wrestler). Blue Demon was one of the original "big three" of the lucha libre tradition in Mexico (the other two being El Santo and Mil Máscaras). He was affectionately referred to as "Blue" and was known for his signature blue mask.

Cinema of Mexico

The history of Mexican cinema goes back to the ending of the 19th century and the beginning of the 20th, when several enthusiasts of the new medium documented historical events – most particularly the Mexican Revolution – and produced some movies that have only recently been rediscovered. During the Golden Age of Mexican cinema, Mexico all but dominated the Latin American film industry.

The Guadalajara International Film Festival is the most prestigious Latin American film festival and is held annually In Guadalajara, Mexico. Mexico has twice won the highest honor at the Cannes Film Festival, having won the Grand Prix du Festival International du Film for Maria Candelaria in 1946 and the Palme d'Or in 1961 for Viridiana, more than any other Latin American nation.

Mexico City is the fourth largest film and television production center in North America, as well as the largest in Latin America.

in 2019, Roma became the first Mexican film and third Latin American film winning the Oscar for best Foreign language film.

Cyclone (1978 film)

Cyclone (Spanish: El Ciclón; also known as Terror Storm) is a 1978 Mexican survival horror film directed by René Cardona Jr. and starring Arthur Kennedy, Carroll Baker, and Lionel Stander. The plot follows a group of passengers from a crashed airplane who find refuge on a small tour boat in the ocean, and who eventually resort to cannibalism for survival. The film is purportedly based in part on Alfred Hitchcock's Lifeboat (1944).

Exploitation film

An exploitation film is a film that attempts to succeed financially by exploiting current trends, niche genres, or lurid content. Exploitation films are generally low-quality "B movies". They sometimes attract critical attention and cult followings. Some of these films, such as Night of the Living Dead (1968), set trends and become historically important.

Hood film

Hood film is a film genre originating in the United States, which features aspects of urban African-American or Hispanic-American culture such as hip hop music, street gangs, racial discrimination, organized crime, gangster, gangsta rap, broken families, drug use and trafficking, illegal immigration into the United States and the problems of young people coming of age or struggling amid the relative poverty and violent gang activity within such neighborhoods.

Juan Tyrone Garcia

Juan Tyrone Garcia (25 May 1950 – 14 May 1979) was an actor, martial artist, singer, teacher and founder of the Mexican Judo concept. He is considered one of the most influential Mexican martial artists of the 20th century and a cultural icon.Garcia was born in Malibu, California and was of Mexican heritage.

K. Gordon Murray

K. Gordon Murray (1922–1979) was an American producer, most notable for his redubbing and re-releasing of foreign fairy tale films for U.S. audiences. He is often cited as the "King of the Kiddie Matinee." Murray also marketed many of the Mexploitation luchador films, such as Santo films popular in Mexico, changing Santo's name to Samson and dubbing them in English.

Among his more famous contributions are Little Red Riding Hood (1960), Little Red Riding Hood and the Monsters (1962), Rumpelstiltskin (1955), The Golden Goose (1964) and Santa Claus (1959), which he also narrated under the pseudonym "Ken Smith."

List of apocalyptic films

This is a list of apocalyptic feature-length films. All films within this list feature either the end of the world, a prelude to such an end (such as a world taken over by a viral infection), and/or a post-apocalyptic setting.

Meat pie Western

Meat pie western, also known as a kangaroo western is a category of Western-style films or TV series set in the Australian outback. The names are a play on the term Spaghetti Western. The category is important to differentiate more Americanised Australian films from those with a more historical basis, such as ones about bushrangers (also sometimes called bushranger films).

Mexican sex comedy

The Mexican sex comedies film genre, generally known as Ficheras film or Sexicomedias is a genre of sexploitation and Mexploitation films of the Mexican cinema that flourished in the 1970s and 1980s. It is recognized as a collection of usually low quality films with low budgets. Although the films had sexual tones and used double entendre, they were not particularly explicit. The genre is possibly based on the Italian erotic comedies. The popular term for it came from the film Las ficheras, produced and released in 1975, which described the experiences of many women who entertained men at nightclubs.

The settings and plots of these films tended to be simple. Though they enjoyed box-office success and were popular, they are now generally regarded as poor examples of Mexican cinema; moreover, they frequently received classification as being unsuitable for minors.

Some of the films of this Mexican genre included El rey de las ficheras, La pulquería, Muñecas de medianoche, Bellas de noche, and Entre ficheras anda el diablo.

The best-known Mexican actors and actresses who were known to have participated in ficheras films were:

Sasha Montenegro

Angélica Chaín

Andrés García

Mauricio Garcés

Lina Santos

Lyn May

Marcia Bell

Leticia Perdigón

Carmen Salinas

Alfonso Zayas

Jorge Rivero

Alberto Rojas "El caballo"

Rafael Inclán

Roberto Ibañez

Leopoldo García Peláez Benítez "Polo Polo"

Antonio Raxel

Raúl Padilla "El Choforo"

Miguel M. Delgado

Luis de Alba

René Ruíz "Tun Tun"

Pedro Weber "Chatanooga"

César Bono

Eduardo de la Peña "Lalo el Mimo"

Rossy Mendoza

Norma Lazareno

Norma Lazareno (born 5 November 1943) is a Mexican film and television actress.

Nuevo Cine Mexicano

Nuevo Cine Mexicano, also referred to as New Mexican Cinema is a Mexican film movement started in the early 1990s. Filmmakers, critics, and scholars consider Nuevo Cine Mexicano a "rebirth" of Mexican cinema because of the production of higher-quality films. This rebirth led to high international praise as well as box-office success, unseen since the golden age of Mexican cinema of the 1930s to 1960s. The quality of Mexican films suffered in the decades following the golden age due in part to Mexican audiences watching more overseas films, especially Hollywood productions. This resulted in the rise of infamous Mexican genres such as Luchador films, sexicomedias and ultimately the low-budget direct-to-video Mexploitation film.Many themes addressed in Nuevo Cine Mexicano include the roles of gender, identity, tradition, and socio-political conflicts within Mexico itself. The movement has achieved international success with films such as director Alfonso Cuaron’s Y Tu Mamá También (2001), which was nominated for an Academy Award for Best Original Screenplay and at the Golden Globes for Best Foreign Film, and Alejandro G. Iñárritu's Amores Perros (2000), which was nominated for Best Foreign Film at the Academy Awards.

There is debate over when this “new wave” of Mexican cinema began and whether there are any clear parameters as to how it differs from other Mexican film movements other than "newfound audience enthusiasm". Some cite the actual rejuvenation of Mexican cinema as starting in 1998 in a Post-NAFTA Mexico, beginning with the film Sexo, pudor y lágrimas (Sex, Shame and Tears). Others believe it began because of the international acclaim of the films such as Like Water for Chocolate (1992) and its nomination for Best Foreign Film at the Golden Globes. The definition of Nuevo Cine Mexicano also leads to the question, "What is a Mexican film?"—is it Mexican film because of who makes or stars in it, or because it takes place in Mexico.

Opera film

An opera film is a recording of an opera on film.

Ramón Gay

Ramón Gay (born Ramón García Gay; November 28, 1917 – May 28, 1960) was a Mexican film actor. He was one of the stars of the Golden Age of Mexican cinema, known to horror film fans for his role in The Aztec Mummy trilogy of films in the late 1950s.He was killed in 1960, when he was shot dead during a dispute with another man over the actress, Evangelina Elizondo (1929–2017).

Romanian New Wave

The Romanian New Wave (Romanian: Noul val românesc) is a genre of realist and often minimalist films made in Romania since the mid-aughts, starting with two award-winning shorts by two Romanian directors, namely Cristi Puiu's Cigarettes and Coffee, which won the Short Film Golden Bear at the 2004 Berlin International Film Festival, and Cătălin Mitulescu's Trafic, which won the Short Film Palme d'Or at the Cannes Film Festival later that same year.

Santo vs. las Mujeres Vampiro

Santo vs. las Mujeres Vampiro (also known as Samson vs. the Vampire Women) is a 1962 horror film starring the wrestling superhero Santo. The film was featured on a 1995 episode of Mystery Science Theater 3000.

Seraina Rohrer

Seraina Rohrer is a Swiss film festival director and academic.

Silent film

A silent film is a film with no synchronized recorded sound (and in particular, no audible dialogue). In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. The term "silent film" is a misnomer, as these films were almost always accompanied by live sounds During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in large cities, a small orchestra—would often play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the intertitle cards for the audience. Though at the time the technology to synchronize sound with the video did not exist, music was seen as an essential part of the viewing experience.

The term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects.

Most early motion pictures are considered lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video. It has often been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data.

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