México tiene historias que el mundo necesita conocer. La de Golden Age of Mexican Cinema es una de las más complejas, más reveladoras y, en muchos sentidos, más urgentes de entender. Aquí está el contexto que las noticias rara vez ofrecen.
La historia detrás
The Golden Age of Mexican Cinema (Spanish: Época de Oro del Cine Mexicano) was a boom period in the history of Mexican cinema, which began in 1936 with the premiere of the film Allá en el Rancho Grande, and culminated in 1956. In 1939, during World War II, the film industry in the US and Europe declined, because the materials previously destined for film production now were for the new arms industry. Many countries began to focus on making films about war, leaving an opportunity for Mexico to produce commercial films for the Mexican and Latin American markets. This cultural environment favored the emergence of a new generation of directors and actors still considered icons in Mexico and in other Hispanic countries. Mexican cinema of the Golden Age is also credited with propelling Norteño music into Chilean popular culture.
Origins In 1939 Europe and the United States participated in World War II, and the film industries of these regions were severely affected. Europe due to its locati
Los protagonistas
Since the beginning of talkies in Mexico, films such as Santa (1932), directed by Antonio Moreno and The Woman of the Port (1934), directed by Arcady Boytler, were huge blockbusters that showed that Mexico had the equipment and talent needed to sustain a strong film industry. One of the first blockbusters was the film Allá en el Rancho Grande by Fernando de Fuentes, which became the first classic of Mexican cinema; this film is referred to as the initiator of the “Mexican film industry”. In the early 1940s began the emergence of great Mexican film studios settled in Mexico City, they begin to support the mass production of films. Among the most important are CLASA Films, FILMEX, Films Mundiales, Cinematográfica Calderón, Películas Rodriguez and Producciones Mier y Brooks. Mexican cinema continued to produce works of superb quality and began to explore other genres such as comedy, romance and musical. In 1943, the film Wild Flower brought together a team comprising the filmmaker Emilio
Dato clave: Stars as Pedro Infante, Jorge Negrete, Luis Aguilar and Antonio Aguilar made dozens of musical films that served as a platform to promote Mexican music.
Lo que los documentales no muestran
The musical film genre in Mexico was strongly influenced by the Mexican folk music or Ranchero music. Stars as Pedro Infante, Jorge Negrete, Luis Aguilar and Antonio Aguilar made dozens of musical films that served as a platform to promote Mexican music. The songs of important composers like Agustín Lara or José Alfredo Jiménez served as the basis for the arguments of many films. Libertad Lamarque also highlighted by her performances where music and songs were the main protagonists. Tropical music that was popular in Mexico and Latin America since the 1930s was also reflected in Mexican cinema. Numerous music magazines were made in the 1940s and 1950s. In these productions it was common to see figures such as Damaso Perez Prado, Toña la Negra, Rita Montaner, María Victoria or Los Panchos. However, the musical film in Mexico was mostly represented by the so-called Rumberas film, a unique cinematic curiosity of Mexico, dedicated to the exaltation of the figure of the “rumba” (dancers of
Las consecuencias
Horror films Although the 1960s are considered the Golden Age of Horror and science fiction in Mexican cinema, during the Golden Age there were some remarkable works. Chano Urueta, a prolific director who began in the silent era, had his approaches with the supernatural in The Sign of Death (1939); however his greatest contributions come with The Magnificent Beast (1952), the film that first introduced wrestlers to the genre. Other works in the genre include La Bruja (1954), and Ladrón de Cadáveres (1956).
On April 15, 1957, the whole country mourned with the news of the death of Pedro Infante. His death was one of the markers of the end of the Golden Age of Mexican Cinema. The first Mexican television transmissions started in 1950. By 1956, TV antennas were common in Mexican homes, and new media grew rapidly in the country outside the capital city. Despite the first black and white television pictures not having the clarity and sharpness of movie films, filmmakers immediately felt sh
Por qué esta historia importa
La historia de Golden Age of Mexican Cinema no es solo un relato del pasado. Es un espejo que nos ayuda a entender el México de hoy — sus contradicciones, su resiliencia, sus retos y su potencial. Conocerla es un primer paso hacia una conversación más honesta sobre el país y la sociedad que queremos construir.
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