Showcasing the ‘Land of Tomorrow’
Mexico and the 1968 Olympics
Bibliographic Data
| ID | 8875432 |
|---|---|
| Authors | Eric Zolov (Franklin & Marshall College, corresponding author) |
| Year | 2004 |
| Volume | 61 |
| Issue | 2 |
| Pages | 159-188 |
| Publication date | 2004-10-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | The Americas A Quarterly Review of Latin American History (JOURNAL) |
| Journal identifiers | ISSN: 0003-1615 • E-ISSN: 1533-6247 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1353/tam.2004.0195 |
| OpenAlex | W1980451857 |
| Language | EN |
| Citations received | 24 |
| References cited | 14 |
Atourist arriving in Mexico City in the early summer of 1968 would have found the capital awash in color, an air of expectation and optimism everywhere palpable as the country finalized last-minute preparations for the Olympic Games, scheduled to commence that October. Yellow, blue, and pink banners framing a white dove of peace lit up major thoroughfares. Throughout the city, numerous commercial billboards had been replaced with photographs of cultural and physical activity related to the Games; in one corner, was the omnipresent peace dove. Other enormous images laced the skyline: caricatured line drawings of school children, a family portrait, anonymous faces in a crowd. “Everything is Possible in Peace,” the new billboards proclaimed in a multitude of languages—set against a background of hot pink and vibrant yellow. Along a designated “Route of Friendship” that extended across the southern part of the city, large abstract sculptures of brightly painted concrete by artists of international renown could be observed in various stages of completion. The country's official logo for the Games—“MEXICO68”—whose evident Op Art influence was designed to evoke a moving, modernist feel, was omnipresent; so too were the hundreds of young edecanes (event hostesses), whose uniformed miniskirts and pantsuits were emblazoned with a graphic representation of the logo. The viewer could scarcely have avoided the sensation of a city, a country on the verge of something spectacular
Advertising · Archaeology · Art · Cabinet (room · Cartography · Dove · Framing (construction · Geography · Media studies · Multitude · Political science · Portrait · Sculpture · Skyline · Sociology · Visual arts · History · Law · Social and Cultural Dynamics · Sport and Mega-Event Impacts · Sports, Gender, and Society
Las prisiones del archivo
In the Wake of Mexican Patrimonio
Race, Nation Building, and the Global Cold War
On How to Live Well
Owning the Olympics
Finding Afro-Mexico
Portrait of a Young Painter
Estrategias de marketing territorial en una región transfronteriza
Recognizing Historical Injustice through Photography
Arqueología mexicana en guías de turistas
A Revolutionary Regime Must Put the Interests of the Majority First”
Gustavo Díaz Ordaz's Foreign Policy
Revolution and the Streets
Beyond Tlatelolco
Mexico City 1968
The 1986 World Cup during Mexico’s Neoliberal Turn
L atin A merican C ities
Handcraft as Cultural Diplomacy
Narrativas turísticas y la conformación del patrimonio nacional mexicano a través del análisis de las guías turísticas de Morelos
Arqueología turística internacional en México
The challenges of articulating 'top down' and 'bottom up' development through sport
Mexican astropolitics and scientific diplomacy, 1958-1977
Beauty, Beasts, andBurlas
The October anniversary
Refried Elvis
The Politics of the Olympic Games
Massacre In Mexico (1971)
The American Historical Association
Modernization as Ideology
Toward an analytical framework for assessing the impact of the 1968 student movement on U.S.-Mexican relations
Hacia México 68. Pedro Ramírez Vázquez y el proyecto olímpico
Mexico City
Defining the Space of Mexico'68
Sport in Latin America and the Caribbean
| Unique citing works | 24 |
|---|---|
| Citations per year | 1,33 |
| Citation span | 2008 - 2025 (18) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 22 |