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The history of ''Mexican cinema'' goes back to the ending of the 19th century and the beginning of the 20th, when several enthusiasts of the new medium documented historical events – most particularly the Mexican Revolution – and produced some movies that have only recently been rediscovered. During the Golden Age of Mexican cinema, Mexico all but dominated the Latin American film industry. The Guadalajara International Film Festival is the most prestigious Latin American film festival and is held annually In Guadalajara, Mexico. Mexico has twice won the highest honor at the Cannes Film Festival, having won the ''Grand Prix du Festival International du Film'' for ''Maria Candelaria'' in 1946 and the Palme d'Or in 1961 for ''Viridiana'', more than any other Latin American nation. Mexico City is the fourth largest film and television production center in North America, behind Los Angeles, New York City and Vancouver, as well as the largest in Latin America. ==Silent films (1896–1929)== The first "moving picture", according to sources by film historian Jim Mora, was viewed in 1895 using Thomas Edison's kinetoscope. A year later, the cinematographe projector was introduced by Auguste Lumière. Mexico's first queues appeared in cinemas in the capital to see international one-minute films such as ''The Card Players'', ''Arrival of a Train'', and ''The Magic Hat''.〔Mora, Carl J. ''Mexican Cinema: Reflections of a Society 1896–1988'', p. 5,6. Berkeley: University of California Press, 1989. ISBN 0-520-04304-9〕 The "silent film" industry in Mexico produced several movies; however, many of the films up to the 1920s have been lost and were not well documented. The origins of early filmmaking is generally associated with Salvador Toscano Barragán. In 1898 Toscano made the country's first film with a plot, titled ''Don Juan Tenorio''. During the Mexican Revolution, Toscano recorded several clips of the battles, which would become a full-length documentary in 1950, assembled by his daughter. Other short films were either created or influenced from French film-makers. By 1906, 16 movie salons opened their doors to accommodate the popularity of cinema in Mexico City. ''Carpas'', or tent shows, were popular beginning in 1911 where lower-class citizens would perform picaresque humor and theatrical plays, a place for training for aspiring actors. Politically affiliated films appearing in 1908, often deemed propagandistic by today's terms. Significant battles were filmed and broadcast during the Revolution which fueled Mexicans' excitement in cinema.〔Mora p. 17-21〕 The popularity that cinema had experienced in the early 20th century continued to grow and by 1911 fourteen movie houses were erected from the year prior. It was during this period that the documentary techniques were mastered as is evident in the Alva brother's production entitled ''Revolución orozquista'' (1912). The film was shot in the camps of the rebel and federal forces during the battle between General Huerta and the leader Pascual Orozco. However, despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of Madero led to his campaign to save the lower classes from immorality through censorship. Hence, in late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners. Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, Victoriano Huerta's coup d'état in February 1913, prevented the move to legislate censorship. Although Huerta's reign was brief, the cinema experienced significant changes within this period such as the further establishment of censorship and a shift away from documentary films to entertainment films. The Alva brothers' production of ''Aniversario del fallecimineto de la suegra de Enhart'' is indicative of the change in the aim of Mexican cinematographers. In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913. This decree was imposed a few days after convencionista soldiers shot at the screen during a viewing of ''El aguila y la serpiente''. The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in any way disturb the public order (Mora 70)." As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced. For instance, favoritism towards the Zapatistas was illustrated in the film ''Sangre Hermana'' (Sister Blood, 1914). Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions. The cinematic productions of this period were reflective of the Italians style ''film d'art'', which were fiction-based melodramas. The film ''La Luz (film)'' (The Light, Ezequiel Carrasco, 1917, starring Emma Padilla) was the first film that attempted to adopt this style, even though it was viewed as a plagiarism of Piero Fosco's ''Il Fuoco''. Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries. Both countries were in a state of chaos and disorder- there was a war in Italy and a revolution in Mexico (Paranaguá 70). Once again censorship was re-established on October 1, 1919. Films, which illustrated acts of immortality or induced sympathy for the criminal, were prohibited. In 1917, the former vaudeville star Mimí Derba, founded the Azteca Studios, that realized notable films among 1917 and 1923. The most successful of these films was ''En defensa Propia'' (1921). Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut. By 1924, narrative films were at an all-time low since 1917. During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry. Notable Mexican movie stars moved to the United States. Stars like Ramón Novarro, Dolores del Río and Lupe Vélez, became principal stars of notable Hollywood films in the 1920s and 1930s. Other Mexican stars realized numerous movies in the Spanish versions of Hollywood movies. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cinema of Mexico」の詳細全文を読む スポンサード リンク
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