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.
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Author Name: Kimberly V. Tomadjoglou
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Keywords: bricolage, fronterizo, intermediality, hybridity, film preservation, heritage