This essay examines the “film compilation” framed within early Mexican itinerant exhibition practices using the specific case study of entrepreneurs Félix Padilla (1862-1937) and his son Edmundo Padilla (1903-1984) of the El Paso-Juárez border region. As I will show, the Padillas’ La venganza de Pancho Villa (Pancho Villa’s Revenge) is a borderless film of continually changing ideas and technical processes, one that destabilizes the notion of the original that is used to identify differences between national cinemas and as a standard for film preservation protocol that determines national heritage. In its place, I offer the notion of bricolage as a methodological concept for understanding the heterogeneous nature of cinema in general, and more specifically to describe the craft repurposing exemplified by the Padillas’ artisanal, bilingual and bicultural media practice.
Real Time Impact Factor:
Pending
Author Name: Kimberly V. Tomadjoglou
URL: View PDF
Keywords: bricolage, fronterizo, intermediality, hybridity, film preservation, heritage
ISSN: 2469-0767
EISSN:
Add Citation
Views: 1
