"Ratherthan –purify the cinema, Eisenstein preferred to enrich it throughsynthetic cross-fertilization with the other arts. Eisenstein’sthinking was also what would be nowadays be called "multiculturalism"in that he showed interest in diverse cultures, all seen, in arelatively non-primitive manner as germane to the forging of a“modern “ cinema [CITATION Rob00 p 40 l 1033 ].Theseare comments from Robert Stam’s article "Film Theory."These remarks are aimed at bringing the reader up to speed withcontents of the article. Robert Stam evaluates the impact of SovietMontage-Theorists on cinema and its growth. The Soviet MontageTheorists were a group of filmmakers, film students, andcinematographers. They were after making socialist films thatreconciled authorial creativity, political efficacy, and masspopularity. They included filmmakers such as Kuleshov, Alexandrov,Pudovkin and Eisenstein. Soviet Theorists/filmmakers are creditedwith spearheading the use of typage: a casting technique used toevoke social stratifications, the contrapuntal use of sound in cinemaand developing the full-scale montage typology in cinema.
“Inthe first three decades of the twentieth Century, ethnic Mexicans inthe United States regularly witnessed denigrating images of Mexicoand Mexicans on Screen” [CITATION Lau02 p 12 l 1033 ].This sentence iffrom Laura Isabela’s articles “La Venganza de Pancho Villa:Resistance and Repetition” In the article Laura is evaluating thedepiction of other races in American films and cinemas. She hasreviewed the film, “La Venganza de Pancho Villa” to argue hercase. According to Laura, most films express ideologies andstructures of the greater American film industry which includemasculinity and nationalism that re-inscribes racial hierarchies.Basing on various factors Laura has in detail reviewed the film.According to her, the film reconstructed the great revolution. Also,she claims the film gave the American population an insight on theMexican audiences’ experience as spectators. Various film stylessuch as silent cinema have been discussed in the article. In herconclusion Laura makes it clear that the film “La Venganza dePancho Villa” went against the then America’s film tradition ofdepicting Mexicans as the villains.
Serna, Laura Isabel. "Chicano ." Chicano Studies 37:2 Fall 2012 (2002): 42. pdf.
Stam, Robert. Film Theory. Hoboken: BLACKWELL publishers, 2000. pdf.