摘要：This paper sets out an analysis of the varying forms in which cinema has intervened in the practices and imaginaries of contemporary art in Mexico, from the 1930s to the second decade of the XX’s Century. First, we draw a theoretical review of intermediality and other useful methodological frameworks for the study of the interactions between cinema and the other arts. In this way, we seek to identify nodal points from which to understand the specificity of our case studies. Then, we focus on four different cases: the intermediations of photography and cinema in Siqueiros’ muralism; the ways in which (third) cinema became a model for revolutionary artistic practices in the aftermath of the Mexican Student Movement of 1968; the cinematic mediations in the work of Mexican contemporary artists Mario García Torres and Carlos Amorales; and contemporary projects associated with the reactivation of filmic and artistic traditions in the public sphere, as can be seen in a series of multidisciplinary works..
