The cinematic productions of this period were reflective of the Italians style film d'art, which were fiction-based melodramas.
The film La Luz (The Light, Ezequiel Carrasco, 1917, starring Emma Padilla) was the first film that attempted to adopt this style, even though it was viewed as a plagiarism of Piero Fosco's Il Fuoco.
Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries.
Both countries were in a state of chaos and disorder – there was a war in Italy and a revolution in Mexico (Paranaguá 70).
Once again censorship was re-established on October 1, 1919.
Films which illustrated acts of immortality or induced sympathy for the criminal were prohibited.

In 1917, the former vaudeville star Mimí Derba, founded the Azteca Studios, which produced notable films between 1917 and 1923.
The most successful of these was En defensa Propia (1921).

Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut.
By 1924, narrative films were at an all-time low since 1917.

During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry after World War I.  Notable Mexican movie stars moved to the United States.
Stars such as Ramón Novarro, Dolores del Río and Lupe Vélez, became principal stars of notable Hollywood films in the 1920s and 1930s.
Other Mexican stars appeared in numerous movies which were merely Spanish-language versions of Hollywood movies.

In 1994, the Mexican magazine Somos published a list of "The 100 best movies of the cinema of Mexico" in its 100th edition.
The oldest film selected was" "El automóvil gris" (The Grey Car).
To make the selection, the magazine invited 25 specialists in Mexican cinematography, among which critics stand out Jorge Ayala Blanco, Nelson Carro and Tomás Pérez Turrent, the historians Eduardo de la Vega Alfaro and Gustavo García Gutiérrez.
The top twelve films in order chosen from the best and on are Let's Go with Pancho Villa, Los Olvidados, Godfather Mendoza, Aventurera, A Family Like Many Others, Nazarín, El, The Woman of the Port, The Place Without Limits, Here's the Point, Champion Without a Crown, and Enamorada.
The cinematic productions of this period were reflective of the Italians style film d'art, which were fiction-based melodramas. The film La Luz (The Light, Ezequiel Carrasco, 1917, starring Emma Padilla) was the first film that attempted to adopt this style, even though it was viewed as a plagiarism of Piero Fosco's Il Fuoco. Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries. Both countries were in a state of chaos and disorder – there was a war in Italy and a revolution in Mexico (Paranaguá 70). Once again censorship was re-established on October 1, 1919. Films which illustrated acts of immortality or induced sympathy for the criminal were prohibited.
In 1917, the former vaudeville star Mimí Derba, founded the Azteca Studios, which produced notable films between 1917 and 1923. The most successful of these was En defensa Propia (1921).
Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut. By 1924, narrative films were at an all-time low since 1917.
During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry after World War I.  Notable Mexican movie stars moved to the United States. Stars such as Ramón Novarro, Dolores del Río and Lupe Vélez, became principal stars of notable Hollywood films in the 1920s and 1930s. Other Mexican stars appeared in numerous movies which were merely Spanish-language versions of Hollywood movies.
In 1994, the Mexican magazine Somos published a list of "The 100 best movies of the cinema of Mexico" in its 100th edition. The oldest film selected was" "El automóvil gris" (The Grey Car). To make the selection, the magazine invited 25 specialists in Mexican cinematography, among which critics stand out Jorge Ayala Blanco, Nelson Carro and Tomás Pérez Turrent, the historians Eduardo de la Vega Alfaro and Gustavo García Gutiérrez. The top twelve films in order chosen from the best and on are Let's Go with Pancho Villa, Los Olvidados, Godfather Mendoza, Aventurera, A Family Like Many Others, Nazarín, El, The Woman of the Port, The Place Without Limits, Here's the Point, Champion Without a Crown, and Enamorada.
Cinema of Mexico