Open AccessMagueyes (1962) by Rubén Gámez. Mexican experimental cinema as a violent and inexhaustible resource of memory
Author(s) -
Dulce María Núñez Oseguera
Publication year - 2021
Publication title -
avanca - cinema
Language(s) - English
Resource type - Journals
eISSN - 2184-4682
pISSN - 2184-0520
DOI - 10.37390/avancacinema.2021.a286
Subject(s) - movie theater , dialectic , representation (politics) , battle , argument (complex analysis) , power (physics) , literature , realism , element (criminal law) , art , art history , history , philosophy , epistemology , politics , law , ancient history , political science , biochemistry , chemistry , physics , quantum mechanics
Los Magueyes (1962) directed by Rubén Gámez is an important Mexican experimental film. The montage shows a dialectical game that subverts the traditional cinematographic discourse from where the landscape stops being a passive element to become an inciter of violence. This filme does not have human, agaves are the only protagonists of a cruel and ruthless battle. In this short filme, war dialogues with the power of cinematographic representation. Los Magueyes (1962) transcends time limits unifying all the battles of history into one, showing the malleability and power of cinema from its audiovisual language. The cinematographic montage mixed with the Symphony no. 11 composed by Dmitri Shostakovich represents a critical, original, and symbolically profound argument that characterizes this filmes that belong to the Mexican experimental cinema of the sixties.