Films are rooted in cultural tropes. A film that is successful in Canada may not be success in Germany. Films are made for the audience, and the audience is a culture group. When films differ so greatly, how can they be analyzed and understood in a uniformed manner? The best way to analyze film is through the Marx-Influence concept of interpellation, which is the method in which society creates personal identity. This theory is most beneficial in a culturally divided film world because society and culture are considered upfront.
Y Tu Mama Tambien (2001), a coming of age story of two boys, is decidedly Mexican. The music, cultural tropes, and scenic views are all rooted in Mexican Culture. Even the general tone of the movie, is absolutely Mexican. My Mexican friend told me that all Mexican movies are playful, but deeply sad. Y Tu Mama Tambien is definitely playful, and in the end, the events are absolutely devastating. Because this move is acutely coded with Mexican culture tropes, it is easy to extrapolate the process of creating individual identity through society.
Marx-Influences critiques turn to the economic first when looking towards identity creation. The economic situation in this film is deeply present. The two main characters come from vastly different classes. One occupies the elite class and the other lives within the working class, in the classic Marxist sense. The economic divide between the rich and poor is clear in Y Tu Mama Tambien and how relationships are formed and identity is created is made apparent with the dynamic relationship between the two stratified boys.
The control of group control in terms of identity is made clear at the end of this film. Throughout the film, the boys interact and, while their differences are apparent, they are able to be friends. However when the boys enter manhood, they drift apart, both returning to their predetermined class. While they were best friends since they were young, as men, one rich and one poor, they cannot now be in the say social circles. The divide driven between the best friends illustrates how, while individual identity is formed, escaping a social class can be impossible in a condition of hegemonic control.
With the help of Marx-Influenced theoretical analysis, it becomes apparent that Y Tu Mama Tambien is an obvious cultural critique of the class situation in Mexico. Here it is important not only to see Y Tu Mama Tambien as a political film, but also as a Mexican political film. It is unmistakable that film, like culture, must not be treated as ahistoric. Instead, a film’s location, time, and politics should all be considered.
References Cited:
Gray, Gordon
2010 Film Theory. In Cinema: A Visual Anthropology, Pp.35-73. Oxford, New York: Berg
You open with a problematic generalization ("The best way to analyze film.."), when there is no need to make such big statements, I recommend not making them.
ReplyDeleteDid the friend separated on an economic base, or since they betrayed each other's trust? Are they really that different? Later you offer several more statements " an obvious cultural critique of the class situation in Mexico"…"a political film", that you don't really support with examples ..