In The 1920s, As American Films Came To Dominate Mexico's Cinemas, Many Of Its Cultural And Political Elites Feared That This Yanqui Invasion Would Turn Mexico Into A Cultural Vassal Of The United States. In Making Cinelandia, Laura Isabel Serna Contends That Hollywood Films Were Not Simply Tools Of Cultural Imperialism. Instead, They Offered Mexicans On Both Sides Of The Border An Imaginative And Crucial Means Of Participating In Global Modernity, Even As These Films And Their Producers And Distributors Frequently Displayed Anti-mexican Bias. Before The Golden Age Of Mexican Cinema, Mexican Audiences Used Their Encounters With American Films To Construct A National Film Culture. Drawing On Extensive Archival Research, Serna Explores The Popular Experience Of Cinema Going From The Perspective Of Exhibitors, Cinema Workers, Journalists, Censors, And Fans, Showing How Mexican Audiences Actively Engaged With American Films To Identify More Deeply With Mexico. -- Publisher's Description. The Yanqui Invasion -- U.s. Motion Picture Companies Go South Of The Border -- American Movies, Mexican Modernity: The Cinema As A National Space -- In Lola's House: Fan Discourse In The Making Of Mexican Film Culture -- Border Crossings -- La Virgen And La Pelona: Film Culture, Border Crossing, And The Modern Mexican Woman -- Denigrating Pictures: Censorship And The Politics Of U.s. Film In Greater Mexico -- Al Cine: Mexican Migrants Go To The Movies. Laura Isabel Serna. Includes Bibliographical References And Index.

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Serna, Laura Isabel;

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Contents 10
A Note on Translations and Film Titles 10
Prologo (Prologue) 14
Acknowledgments 16
Introduction 18
Part I: The Yanqui Invasion 34
1. U.S. Motion Picture Companies Go South of the Border 36
2. American Movies, Mexican Modernity: The Cinema as a National Space 64
3. In Lola's House: Fan Discourse in the Making of Mexican Film Culture 102
Part II: Border Crossings 138
4. La Virgen and LA Pelona: Film Culture, Border Crossing, and the Modern Mexican Woman 140
5. Denigrating Picture: Censorship and the Politics of U.S. Film in Greater Mexico 171
6. Al Cine: Mexican Migrants Go to the Movies 197
Conclusion 232
Abbreviations of Frequently Cited Sources 240
Notes 242
Bibliography 296
Filmography 320
Index 326

In the 1920s, as American films came to dominate the country's cinemas, many of Mexico's cultural and political elites feared that this "Yanqui Invasion" would turn Mexico into a cultural vassal of the United States. In this book, the author contends that Hollywood films were not simply tools of cultural imperialism.

2025-10-27