noted to have incorporated visual folkloric style of José Guadalupe Posada, the deconstructing landscapes of Gerardo Murillo, and the low angles, deep focus, diagonal lines, and 'native' imagery in Sergei Eisenstein's Que Viva Mexico. Although a mélange of Western and Mexican influences coexist in Fernandez's films, his Mexican biography and locality leave a legacy of romanticizing Mexico and Mexican history, often presenting idyllic ranches, singing, and a charming life of the poor. Although of European heritage, Luis Buñuel's work in Mexico is another example that presents 'symptoms' of Mexican national identity. Although less well received by lower classes, and more admired by upper classes, Buñuel's Los Olvidados (1950) stands as an example that a director's national heritage doesn't always have to contribute to the conceptualization of a nation's cinema. Rather than building the nation through celebration, the film presents problem, which contribute to a global identity and context of the nation state. Buñuel, however, is less interested in presenting some 'identity' of message, national or international, and remarked that "to ask whether the film is Mexican or not, is to resist, to seek, to disperse, the very mystery this film articulates for us". Modern genres embraced and nurtured as 'Mexican national cinema' are often those of the social and family melodrama genre (the Golden Globe nominated Como agua para chocolate (1991) by Alfonso Arau), the working class melodrama (Danzon (1991) by Maria Novaro), the comedy (Sólo con tu pareja (1991) by Alfonso Cuarón) and the rural costumbrismo film (La mujer de Benjamin (1990) by Carlos Carrera). Changes in the politics of film industry institutions allowed these film texts and their directors to "transform the traditional filmic paradigm". Up to 60% of financial assistance for national, Latin American, and European productions were provided by the Instituto Mexicano de Cinematografia, new models of co-production were created, and distribution and sales channels were opened abroad. In other countries Countries like South Korea and Iran have over the years produced a large body of critically acclaimed and award-winning films by the likes of Oscar winner Bong Joon-ho and the late Abbas Kiarostami. References Further reading Theorising National Cinema. Edited by Valentina Vitali and Paul Willemen. June 2006. Barton, Ruth. Irish National Cinema. London and New York: Routledge, 2005. Hake, Sabine. German National Cinema. London and New York: Routledge, 2002. Haltof, Marek. Polish National Cinema. New York: Berghahn Books, 2002. Hayward, Susan. French National Cinema.