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Pepe Rojo, a key author often tied to the Mexican cyberpunk movement of the 1990s, has been most effective in articulating a kind of visual dystopia in the country that focuses upon television as a key site for constructing dislocated subjectivities. His writing reacts to larger shifts occurring in the country’s field of vision that have been catalyzed by the neoliberal political-economic policy changes and have altered the way in which the mass media culture industry in Mexico functioned in the 1990s. This brought a multitude of changes in how the media industry functioned both internally and externally, ultimately becoming by the mid-1990s what it is today: an expansive and globalizing oligarchic culture industry. The explosive proliferation of television screens and programming reached near ubiquity in the homes of urban spaces by 2000, greatly outweighing the nascent cybernetic screen that was imagined by many other cyberpunks. Some of Rojo’s key fantastical narratives respond to these changes by articulating “tele-visual subjectivities” that capture the zeitgeist of a spectacularized, neoliberal, and globalized Mexico.



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