The invisibility of Bava’s and the Ramsay’s cinema in film historiography is a symptom of the marginality, in Italy and India at the time, of the kind of capital that sustained these films, just as the visibility of Méndez’ work in the history of Mexican cinema reflects the centrality of speculative capital in 1960s Mexico. Similar connections can be traced in other countries. The end of the Bretton Woods system in 1971 and the rise of financial capital marked also the end of Keynesian policies. New priorities began to be adopted that we now know, globally, as neoliberalism. The conclusion suggests that scholars are now rediscovering cheaply produced generic films because the marginal interests that formed these films’ conditions of possibility now confront us as a dominant force. Popular films staged the tensions brought about by its rise, and it may well be for this reason that they appear to us to be of great interest today.
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