In the years following the Mexican Revolution (1910 - 20), jewelry and other silver objects were crafted there with an entirely innovative approach, informed by modernism and the creation of a new
Mexican national identity.
By the deliberate efforts of post-revolutionary governments the «Mestizo identity» was constructed as the base of the modern
Mexican national identity, through a process of cultural synthesis referred to as mestizaje [mestiˈsahe].
It seems necessary to call bullshit on Rowe's assertion, in the film's press notes, that Leap Year is a metaphor «for the complex victimizer - victim dichotomy that I think is at the very heart of
Mexican national identity,» if only because that theme, so explicitly milked for maximum operatic verismo in Battle in Heaven, isn't being worked out on this particular film's screen.
(36) But however personal the film, Santa Sangre still bears a smattering of political critique, whether in the American stars - and - stripes splashed around the gringo circus, the emblematic eagle symbolising American currency instead of
Mexican national identity (as on the Mexican flag), starving slum dwellers feeding off the waste (a dead elephant symbolising Christ) of the gringo circus, the syncretic Santa Sangre church being destroyed by Catholic officials and greedy developers, etc..
Not exact matches
Amidst the roiling
national debate about American
identity, veteran California Latina artist Linda Vallejo creates a realm in which US popular culture is overlain with a
Mexican - American sensibility.
The search for
national identity provides the historic backdrop for La vida en marcha:
Mexican Prints from the Permanent Collection.
Launched in the wake of the
Mexican Revolution and backed by the government, the
Mexican Muralist movement aimed to produce monumental public murals that mined the country's
national history and
identity.
Nineteenth - century
Mexican landscape painting sought to fuse
national identity with the land, just like similar imagery in other North American and European art.