During the eighties, an increasing part is made to the private companies, especially American, with a system of public aid which depends on the General office for the cinema. The Mexican Institute of Cinematography directly produces feature films: there were sixty films in 1987, one hundred and twenty-eight in 1988 and one hundred and four in 1989. In 123movies you can have a perfect look at these films.
The Story and the Process
The federal government (Peliculas Nacionales) controlled a large part of the circuits (3,068 cinemas in 1984) in front of the independent distributor Arte Cinema of Mexico, and the seven American companies operating in Mexico. The attendance figure is steadily declining: 363 million spectators in 1984, 302 million in 1988, 246 million in 1989 (rounded figures). This public disaffection is due – a general phenomenon – to the growing role of television and the increase in the “park” of video recorders: 600,000 in 1985, 3,500,000 in 1989.
Of this considerable production of the eighties, few titles are to be retained. Few, it is true, have crossed the borders of Spanish America. Paul Leduc produced with Frida a masterpiece never distributed in France, and he had to pass under Hispano-Cuban banner to be able to realize Barroco, ambitious work. Arturo Ripstein, the author of an uneven but often quality work (Le Château de la pureté, 1972), returns to the paroxysms of Mexican cinema, with La Femme du port (1990), a story of incest distantly inspired by Maupassant, and already brought to the screen by Arcady Boytler in 1933. A new breath seems, however, to pass on the Mexican cinema where machismo, melodrama and photogeny dominate. Maria Novaro, director of short films and assistant to Alberto Cortes (Amor a la vuelta de la esquina), directed Lola in 1989 and above all, in 1991, Danzon. It is still a certain Mexico (dance, lowlands of the port city, hieratism and tension), but placed under another glance.
- The relevance of the topic is that there are no sources that could highlight the topic of assessment and perception of Italian cinema by Soviet viewers and my main goal is to initiate these studies.
- In this work were used works on the history of cinema such authors like Georges Sadoule, researchers of Italian cinema C.
- Zavattini, L. Chiarini, C. Lidzani, J. Ferrara, and the work of the Soviet film critics G.D. Bohemian, BC Kolodyazhnoy, I.N. Solovieva, V.V.
- Shitovoi, S.V. Komarova. The main sources were numerous articles from Soviet magazines about cinema, such as “The Art of Cinema”, “Soviet Screen”, “Actors of Foreign Cinema”.
Level of development: as a separate problem, this topic has not been addressed previously. The theoretical significance of my thesis is that an analytical review of the Soviet periodicals will be done sources, systematization of the information received and outputting the result.
This work will help to introduce new vectors of interaction study.
Cultures of Russia and Italy
A thesis can be useful for creating a special course of lectures on the history of Italian cinema and its perception Soviet viewer. This work contains materials that may be useful in the preparation of new articles in the cultural field, for example, on the topic of dialogue of cultures.