University of Bristol
19 th June 2009
Dr. Miriam Haddu
Documentary Filmmaking from Mexico

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Research:
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Books, articles and papers
Teaching:
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Hispanic Studies
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Modern Languages (co-taught courses running within the School of Modern Languages,
Literatures and Cultures)
New teaching subject – documentary filmmaking: coincides with new research project.

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Second year course – half devoted to analysing the still image (photography, murals) and other half to Mexican film.
Film component is introductory exploring:
 key moments in Mexican filmmaking history
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 filmic movements formulas from Golden Age
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Stylistics and social concerns from Golden Age,
Generation of ’68 to the Contemporary period
(1990s and beyond).
Prepares students for the final year option, and develops their analytical skills in relation to a variety of visual texts.

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Contemporary Mexican Cinema: History, Space and
Identity
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Final Year Course ‘Contemporary Mexican Cinema’
Course content:
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Mixture of filmic material (some written on, others not).
Each year new material added – keeps novelty value, allows progression through film history.
At times films being worked on are taught (En la mente del
asesino / In the Mind of a Killer)
Subjects covered:
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Characteristics of filmmaking
Women filmmakers
Genres
Seminar room becomes a forum for learning, interpreting filmic texts, discussion and the investigation of new ideas.

Documentary Filmmaking from Mexico
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Modern Languages co-taught course
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Second year level:
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Spanish studies students
Film studies with a modern language
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Aims and Objectives:
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Introduce students to a selection of documentaries from the region
Expand analytical skills acquired elsewhere on the course
Contextualise and interpret visual constructs
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Address the issue of genre when applied to documentary.

Documentary Filmmaking from Mexico
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Teaching in Practice:
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Teaching of some principles of documentary filmmaking:
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Basic principles:
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Distinction between ‘fiction’ and ‘reality’ filmmaking. Some myths addressed.
Issues of representing ‘reality’
Theoretical framework for reading these outputs
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Types of documentary: observational, reflexive, interactive, etc.
Primary text to exemplify generic definition: En el hoyo / In the Pit.

Documentary Filmmaking from Mexico
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Theoretical framework for reading these texts
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Documentary modes of representation:
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Expository Mode
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Observational Mode
Interactive Mode
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Reflexive Mode
Primary text to exemplify generic definition:
En el hoyo/In the Pit

Juan Carlos Rulfo’s
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Example of
‘observational mode’ documentary
Tagline:
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Starting point for exploring issues of reality in documentary
Methods of documentary filmmaking
Role of the director.

Documentary filmmaking from Mexico
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Knowledge of cultural context
(theoretical tools not sufficient)
‘Re-training of the eye’ – build upon skills developed from other courses/modules
New discipline for modern languages students.

Documentary Filmmaking from Mexico
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Accessibility:
1. Distribution within the film industry
2. Language (target language)
3. Secondary sources (reference material)

Documentary Filmmaking from Mexico
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Documentaries shown at film festivals:
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Access and Delivery of teaching material
Limitations on student viewing
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Resolution:
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Contact filmmakers directly
Film Institutes

Documentary Filmmaking from Mexico
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Effect from poor distribution is limited subtitled material – excludes non-
Spanish speakers.
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Lack of subtitles limits the audience to a certain level of Spanish speakers only.
Local problem – accent – Mexico City’s
chilango presents problems of reception.

Documentary Filmmaking from Mexico
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New films – little publication available
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Most written form of criticism in the target language
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Possible solution:
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Newspaper reviews from archives in
Mexico City
Study packs for students (internet resources and reviews)

Documentary Filmmaking from Mexico
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Cutting Edge teaching
Expert knowledge
Forum for discussion and exploring of new ideas – works both for the researcher and the student.