SOUL Paper 3 - The Perfect Dictatorship The movie, “The Perfect Dictatorship” (“La Dictadura Perfecta”), directed and produced by Luis Estrada and released in 2014, is a political, satirical comedy story of two reporters attempting to repair the image of a corrupt governor after he signs a deal with the boss of their television company, Television Mexicana. That’s one way we could describe the plot of the movie. Another would be that the movie depicts the inherent corruption of the Mexican government and the lengths to which they will go to retain (or regain) their reputation. Equally, we could see the movie as a demonstration of the corruption of the Mexican media and the ways in which the media influences and effects politics. In fact, the …show more content…
Nevertheless, the movie undoubtedly mirrors many of the current socio-political time in which the film was made. The title itself refers to a famous quotation from the Nobel Prize-winning author Mario Vargas Llosa, who once referred to Mexico's ruling party, the PRI, as a "camouflaged dictatorship," thereby making it "the perfect dictatorship." In this way, the movie is directly acknowledging its relevance to modern Mexico and its politics and is clearly very self-aware. The plot itself was based on the real life perceived Televisa controversy during the 2012 Mexican presidential election, in which Mexican citizens believe that the media was unfairly showing a preference for the PRI candidate, Enrique Peña Nieto. While it could be argued that the movie takes this idea of favoring one candidate over another to extreme lengths (although perhaps it isn’t showing anything unduly unrealistic – there’s no real way to know) and hyperbolizes the effect of the media in Mexican politics, there is clearly a strong element of truth and reality there. The movie would not have had nearly the same effect if it was not at least somewhat grounded in reality. And I think that, while the media does not have absolute and final control over politics, they do to a very large and important extent and this extends far beyond the movie alone, especially in today’s age of fake
The Cuban historical film, La Última Cena, or The Last Supper, takes place at a plantation in Havana at the end of the 18th century. In an effort to respect the holy week and to teach his slaves about Christianity, a sanctimonious plantation owner invites twelve of his slaves to dinner with him to reenact the last supper. During the dinner, the Count tries to influence his slaves towards Christianity and feeds them religious rhetoric. As the night goes on, the Count gets drunk and begins to make promises to his slaves in an attempt to seem more Christ-like. The next day, Good Friday, his promises are not kept and the slaves revolt. Because of the rebellion, the twelve slaves that ate dinner with the Count are all hunted down and killed except for one. This film can be further explained through the concepts of three theorists, Aimé Césaire, Homi K. Bhabha, and W.E.B. DuBois.
Mexico’s political and economic stability from 1940-1982 can be well understood by looking at one of Sergio’s televisions. In Mexican Lives, Judith Adler Hellman introduces the reader to Sergio Espinoza, a businessman who once employed some 700 workers to produce televisions, stereos and sound systems. His televisions’ high production costs, low quality, high prices and inaccessibility to the poor sketch a rough microcosm of the period from 1940-1982 by laying bare the inefficiencies of import substitution industrialization and the vast inequalities in Mexico. From 1940-82, economic growth and stability came at the expense of social justice and political pluralism. In particular, the Mexican campesinos, the backbone of the revolutionary Zapatista uprising, suffered from the economic development model and from the PRI’s ability to muzzle dissent.
Derby Lauren, The Dictator's Seduction: Gender and State Spectacle during the Trujillo Regime, Callaloo 23.3. Summer 2000, pp. 1112-1146.
Mexico City in the Age of Diaz is a literary illustration of one country’s struggle to define itself as a modern, cultured nation. Written mainly in the upper class point of view, the poor masses are defamed as lesser, indigenous beings. This anxiety of the Westside population and “President” Diaz lead not to reform but to exploitation and ignorance of social dilemmas. Europe and the United States served as a model for these citizens who craved status and acceptance due to the inherent inferiority complex gained by a historically conquered people.
For the 71 years that the Institutional Revolutionary Party (PRI) was in power, Mexico saw great political, social and economic upheaval. This can be seen in the evolution of the PRI party, whose reign over Mexican society came at the expense of true democracy. “A party designed for power, the PRI's mechanisms for success involved a combination of repressive measures. The party professed no specific ideology, enabling it to adapt to changing social, economic and political forces over time. It attached itself virtually all aspects of civil society, and in this way, it become the political extension and tool of the government.” In 2000, however, the PRI’s loss of its monopoly on political power and institutional corruption gave rise to inter-cartel violence that was created in the political void left after the PAN won the national presidential election. These conditions gave rise to the Zetas: a new type of cartel that changed the operational structure of previous drug cartels. The Zetas operate in a new militant structure associated with a higher brand of violence, which has led it to branch out beyond a traditional drug smuggling enterprise common under the PRI government. Simply put, the electoral defeat of the PRI in 2000 was supposed to usher in a more democratic era in Mexican politics. Instead, the PRI party’s defeat created a state of chaos that gave rise to inter-cartel violence and the birth of the Zetas cartel.
Most importantly, the Mexican government lots the war of ideas. Though the Mexican government maintained a virtual monopoly of the press, Marcos and the Zapatistsas managed to diffuse their ideas and goals across the country. Though many did not support their violent tactics, the Zapatistas brought attention to the “plight of those at the losing end of Mexico’s economic globalization, particularly the indigenous groups who were losing both their livehood and their hopes for self-determination” (155). Marcos’ articulate and incisive letters put the government on the “moral defense” (168).
Throughout its history Mexico has had many revolutions. The most famous perhaps is the Mexican Revolution from 1910-1920. The people of Mexico were getting tired of the dictator rule of President Porfino Diaz. People of all classes were fighting in the revolution. The middle and upper classes were dissatisfied with the President’s ways. The lower and working class people had many factors such as poor working conditions, inflation, inferior housing, low wages, and deficient social services. Within the classes everyone was fighting; men, women, and children all contributed to the fight for freedom from Diaz (Baxman 2). This revolution proved to be the rise and fall of many leaders.
The Mexican government is known to be corrupt- reinforcement coming from the people interviewed in the film. Various federalist and centralist politicians in the Mexican history have been known to bribe for votes, made apparent by the film to occur even at the local level with municipal presidents. Contributing to the push factor to the U.S., corrupt government bodies push the natives towards leaving by providing no benefits that were promised, such as “lotteries” for those who fill out documentation proving that welfare was properly disbursed when no welfare was given. It was said that the Mexican people depend more on their relatives in the United States than they do on the government (e.g. money sent back to fund patron saints and festivals or just for family support). This is an amazing example given by the film about exploitation- a common occurrence in the political history of
La Botz, Dan. Democracy in Mexico: Peasant Rebellion and Political Reform. Boston, South End Press, 1995
Enough is a 2002 thriller directed by Michael Apted and written by Nicholas Kazan. This film is very similar to the Stephen King’s 1995 film adaptation of Dolores Claiborne directed by Taylor Hackford. The protagonists in both these films find themselves trapped in abusive relationships and turn to drastic means to protect themselves and their daughters. In the film Enough, Slim runs away with her daughter from her abusive husband to protect her life whereas, Dolores, in Dolores Claiborne is trapped in her little small town with her husband who is abusive to her and is now sexually abusing their daughter. These women find themselves in these abusive relationships and become empowered to take control of their lives. The writers skillfully use literary elements in these films to convey this message.
Since its release in 2000, the movie la comunidad has been very controversial. Some critics have said that this movie is a critical take on the globalization and the changes that the Spanish Society has undergone; whereas others said the opposite. When examined deeply, it can be seen that la comunidad is critical of both globalization and socialism. Therefore, I believe, this movie was a great example of the representation of the clash between the ideologies that Spain had during its socialist era and the ideologies that Spain had under the influence of globalization with the makers favoring the latter.
The film, Fruitvale Station, is based upon a true story of a young, unarmed African American male, Oscar, who was shot by a Caucasian BART police officer. The film displays the final twenty-fours of Oscar Grant’s lives going through his struggles, triumphs, and eager search to change his life around. There will be an analysis of the sociological aspects displayed throughout the movie that show racism, prejudice, and discrimination.
...omplish political goals. The liberal politics of Latino cinema endure to this day, in the land of Aztlan and throughout the United States.
Metaphorical blindness is a common theme in writing and film because it’s a part of life that invokes change constantly. If we are blind to something, we can only see it’s existence from the outside, rather than truly understand it and know why it exists. Unfortunately, a lot of the aspects of life that cause blindness in this world will never be possible to fully understand. One question in particular has been debated for centuries; does the world has inherent meaning to it? “The Allegory of the Cave” by Plato (from his literary work “The Republic”) and the film “The Sunset Limited” by Tommy Lee Jones (originally a play written by Cormac McCarthy) explore the conflicting sides
This is a movie about a professional killer, or "Cleaner", named Léon played by Jean Reno, and his unlikely interaction with a 12-year old girl, Mathilda played by Natalie Portman. Mathilda's family is murdered by corrupt Drug Enforcement Agents (DEA) lead by Agent Stansfield played by Gary Oldman. Agent Stansfield, is portrayed as a drug addict, mentally unstable and an overtly violent and corrupt law enforcement team leader.