Mockumentary as postnationalism: national identity in 'A Day Without a Mexican' by Sergio Arau

The turn to neoliberalism in the 1990s proved decisive for Mexico, as the NAFTA project embraced by the Salinas administration entailed a re-definition of national identity, defined since the revolution as mestizo, Catholic and especially as the Other to the United States. And just as cinema was in those days a crucial discourse for this particular construction of the identity, it was in the 1990s equally instrumental to its redefinition, which largely focused on the role of migrants to the US, presented even as supplementary in the Derridean sense. In 1992, as part of these efforts, Sergio Arau directed a mockumentary which in 2004 became a feature film, ‘A Day Without a Mexican’. As would befit more the seriousness of a documentary than the excess and parody of mockumentary, the stated aim in both was to advance a social agenda, arguing the case for immigrant labour and for Mexican presence in the US more generally. The film charts what would happen in California were all Latino immigrants to suddenly disappear, arguing chaos would ensue. Given the link between cinema and modernity and the relevance of cinema for the nation as an alternative public sphere, this chapter looks at the implications of choosing mockumentary, taken by many to be a paradigmatic postmodern and hybrid form, to discuss the hybridisation of national identity in a transnational film, in the present age of globalisation.

Realism and national identity in 'Y Tu Mamá También': an audience perspective

When referring to cinema and its emancipatory potential, realism, like Plato’s pharmakon, has signified both illness and cure, poison and medicine. On the one hand, realism is regarded as the main feature of so-called classical cinema, inherently conservative and thoroughly ideological, its main raison d’être being to reify and make a particular version of the status quo believable and to pass it out as ‘reality’ (Burch, 1990; MacCabe, 1974). On the other, realism has also been interpreted as a quest for truth and social justice, as in the positivist ethos that informs documentary (Zavattini, 1953). Even in the latter sense, however, the extent to which realism has served colonizing ends when used to investigate the ‘truth’ of the Other has also been noted, rendering the form profoundly suspicious (Chow, 2007, p. 150). For realism has been a Western form of representation, one that can be traced back to the invention of perspective in painting and that peaked with the secular worldview brought about by the Enlightenment. And like realism, the nation state too is a product of the Enlightenment, nationalism being, as it were, a secular replacement for the religious - that is enchanted or fantastic - worldview. In this way, realism, cinema and nation are inextricably linked, and equally strained under the current decline of the Enlightenment paradigm. This chapter looks at Y tu Mamá También by Alfonso Cuarón (2001), a highly successful road movie with documentary features, to explore the ways in which realism, cinema and nation interact with each other in the present conditions of ‘globalization’ as experienced in Mexico. The chapter compares and contrasts various interpretations of the role of realism in this film put forward by critics and scholars and other discourses about it circulating in the media with actual ways of audience engagement with it.