Mexican Retrogrades in the Wave of American Film Culture


  • Jiayi Zhang


American-Mexican Film; Alejandro González Iñarrítu; Death Trilogy.


As one of the most penetrating media, film is an important expression of national cultural soft power. From the beginning of the 20th century to the present, American film culture has swept the world, directly or indirectly dominating the global screen entertainment. Relying on its mature film industry, the United States has rapidly penetrated its culture and values to the world, affecting the cultural identities of other countries. (Under the long-term hegemony of "Hollywood" values, the Mexican film culture as its neighbor has been seriously affected. In Hollywood films, Mexico seems to be synonymous with "chaos", "poverty" and "violence". For Mexican filmmakers, how to keep the Mexican style in the film in the "encirclement and suppression" of American films is the first problem, and then the goal is to show the real Mexico to the world. In response to this situation, some Mexican filmmakers have successively tried a genre-based creative path, transplanting the Hollywood genre film model into the local narrative, in order to achieve a balance between commerciality and artistry. This is also the goal that a group of Mexican filmmakers of the new genre have always pursued. They reject the domineering "cultural fusion" of Hollywood, but take the initiative to choose the "wall" that crosses national borders, galloping into the global film industry with Mexican concepts and creativity. One of the worthiest of exploration is the Mexican director Alessandro Gonzalez Inarito, because he has lived in the United States for a long time, so he has witnessed the situation of Mexicans in the United States, in his film The two perspectives of the United States and Mexico have appeared many times, intuitively revealing Mexico in the eyes of Americans. And almost all the films he shoots contain Mexican elements, trying to break the world's stereotypes about Mexico through the perspective of Mexicans. In the past ten years, Mexican films have made good news on the international stage and become one of the most active countries in the film industry in the world. Therefore, through the study of Alessandro's films, it is necessary to break the Mexico established by the United States and to re-establish the understanding of Mexico and its films.


Agustin, M., & John, H. Latin America's Film Industry Paradox: 5 Countries With Loud Fest Titles(and Quiet Box Office Payoffs). The Hollywood Reporter, Vol. 2 (2016) No. 13, p. 88-89.

Brian, N. Yankee Invasion of Mexico, or Mexican Invasion of Hollywood? Hollywood's Renewed Spanish-language Production of 1938-1939. Studies in Latin American Popular Culture, Vol. 4(1998) No.17,p. 79-94.

Jia Weixi. An Analysis of the Globalization Strategy of Contemporary Hollywood Films. Drama Home Vol.07, (2022). p. 160-162.

Jorge Ayala Blanco & Cui Yan. Heresy in Mexican Cinema (Preface). Contemporary Cinema Vol. 09 (2009), p. 117-119.

Gao Hongyan & Li Sitan. The Door of Barrier and the Way of Fusion: An Analysis of the Influence of the United States on Mexican Cinema. Contemporary Cinema Vol.11 (2016), p. 105-108.

Li Bin.Deeply Rooted and Lightly Flying: A Study of Mexican-American Director Inarido's Films. Contemporary Films Vol.10 (2015),p. 121-127.

Li Li. The Formal Expression of Curse: The Tower of Babel. Contemporary Cinema Vol.04 (2007),p. 153-156.

Liu Yan. The Unique Creation Techniques of Inarido's Films. Film Literature Vol.01(2017), p. 78-80.

Shi Yajuan. The Orientalist Perspective of the Film "Babel Tower". Art Wide Angle Vol.05, (2007), p. 35-37.

Wang Shan & Li Jiayao.Research on the Current Situation of Mexican Film Industry. Contemporary Film Vol.11 (2016), p. 98-104.

Tong Meiru. A Narrative Interpretation of "Babel Tower". Film Literature Vol.12. (2007),p. 134.

Tong Yuhua. The Study of Mexican Cinema after the 1990s. Contemporary Cinema Vol.02, (2006), p. 116-129.

Wang Wenrong. A Mexican film with all kinds of amorous feelings. Film.Vol.10 (2007), p.52.

Wang Xinke: Alejandro González Iñarrítu Film Studies (Master's Thesis, Hunan University, China, 2019). p. 15.

Zhao Xuan. Three film and television texts and an oriental complex: a comparative literary figurative interpretation of the films "Memoirs of a Geisha", "The Veil" and "Babel Tower". Film Literature Vol.13 (2007), p. 34-35.




How to Cite

Zhang, J. (2022). Mexican Retrogrades in the Wave of American Film Culture. BCP Education & Psychology, 7, 151–156. Retrieved from