The popularity that cinema had experienced in the early 20th century continued to grow and by 1911 fourteen new movie houses were built.
In this period the documentary techniques were mastered as is evident in the Alva brothers' production entitled Revolución orozquista (1912).
The film was shot in the camps of the rebel and federal forces during the battle between General Huerta and the rebel leader Pascual Orozco.

The rise of cinema plateaued due to the lack of distributors and the difficulty to make new material.
This in addition to the dangers that the inflammability of film resulted in the closing of many of the Carpas.
 The cinematic industry was reduced to small companies, with Carlos Mongrand standing out because of films such as Desfiles de tropas en San Luis Potosí, Carnaval de Mérida and Aventuras del sexteto Uranga.

Despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of President Madero led to his campaign to save the lower classes from immorality through censorship.
In late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners.
Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, Victoriano Huerta's coup d'état in the Ten Tragic Days of February 1913 prevented the move to legislate censorship.

Although Huerta's rule was brief, from February 1913 to July 1914, Mexican cinema experienced significant changes within this period such as the further establishment of censorship and a shift away from documentary films to entertainment films.
The Alva brothers' production of Aniversario del fallecimineto de la suegra de Enhart ("Anniversary of the Death of Enhart's Mother-in-Law") is indicative of the change in the aim of Mexican cinematographers.
The Alva brothers produced films such as La entrada de Madero a la capital ("Entry of Madero in the Capital)  with the use of Indalecio Noriega Colombres's inventions, which allowed for a phonograph to be synchronized with the images projected.

In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913.
This decree was imposed a few days after convencionista soldiers shot at the screen during a viewing of El aguila y la serpiente.
The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in any way disturb the public order (Mora 70)."

As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced.
For instance, favoritism towards the Zapatistas was illustrated in the film Sangre Hermana (Sister Blood, 1914).
Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions.
The popularity that cinema had experienced in the early 20th century continued to grow and by 1911 fourteen new movie houses were built. In this period the documentary techniques were mastered as is evident in the Alva brothers' production entitled Revolución orozquista (1912). The film was shot in the camps of the rebel and federal forces during the battle between General Huerta and the rebel leader Pascual Orozco.
The rise of cinema plateaued due to the lack of distributors and the difficulty to make new material. This in addition to the dangers that the inflammability of film resulted in the closing of many of the Carpas.  The cinematic industry was reduced to small companies, with Carlos Mongrand standing out because of films such as Desfiles de tropas en San Luis Potosí, Carnaval de Mérida and Aventuras del sexteto Uranga.
Despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of President Madero led to his campaign to save the lower classes from immorality through censorship. In late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners. Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, Victoriano Huerta's coup d'état in the Ten Tragic Days of February 1913 prevented the move to legislate censorship.
Although Huerta's rule was brief, from February 1913 to July 1914, Mexican cinema experienced significant changes within this period such as the further establishment of censorship and a shift away from documentary films to entertainment films. The Alva brothers' production of Aniversario del fallecimineto de la suegra de Enhart ("Anniversary of the Death of Enhart's Mother-in-Law") is indicative of the change in the aim of Mexican cinematographers. The Alva brothers produced films such as La entrada de Madero a la capital ("Entry of Madero in the Capital)  with the use of Indalecio Noriega Colombres's inventions, which allowed for a phonograph to be synchronized with the images projected.
In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913. This decree was imposed a few days after convencionista soldiers shot at the screen during a viewing of El aguila y la serpiente. The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in any way disturb the public order (Mora 70)."
As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced. For instance, favoritism towards the Zapatistas was illustrated in the film Sangre Hermana (Sister Blood, 1914). Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions.
Cinema of Mexico