Titlebook: Violence, Conflict and Discourse in Mexican Cinema (2002-2015); Miriam Haddu Book 2022 The Editor(s) (if applicable) and The Author(s) 202

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ingen friends up to the Berlin lectures of the 1820’s, which presuppose the complete system of the . [7] and are the basis of Hotho’s edition. These lectures have become an independent work because of the history of their effects. However, their exceedingly complicated theoretical form, which both c

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Book 2022nce, victimhood, and the complex processing of grief in the context of enforced disappearances and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejand

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Myelin

Violence, Conflict and Discourse in Mexican Cinema (2002-2015)978-1-137-28211-8

CRUMB

nces and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejand978-1-349-67071-0978-1-137-28211-8

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Introduction,olence in the chosen texts to be analyzed. The chapter outlines the overall structure of the book and the underlying drive that scrutinizes the selected films’ dialogic relationship with the context(s) of their making. The introductory chapter queries the films’ assessment of violence in society and

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Political Violence: The Case of , (,) (2004) and , (,) (2012), in this chapter have redefined the way in which Mexican politics can be and is presented on the screen. Carlos Bolado’s . (2012) and Jorge Ramírez Suárez’s . (2004) are examined in detail in this chapter, where the discussions demarcate the changing nature of political representation on the screen

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,Drug Violence and Narco Wars Part I: Luis Estrada’s , (,) (2010),arrate a darker episode in Mexico’s recent history seen in its so-called drug war. By examining one of the earliest cinematic explorations of the social problem, this chapter provides an introductory discussion on a topic that continues to dominate mainstream national and international news headline

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,Drug Violence and Narco Wars Part II: Amat Escalante’s , (2013),he image of the victim as represented in Amat Escalante’s film . (2013). The chapter analyzes how Escalante’s excruciating and dark observations on the crisis are seen through the eyes of a young innocent victim of the current narco violence. The chapter discusses the issues of violence and its repr