77 Chapter 12 Coco: An Ode to Mexican Folklore Smriti Ladsaria I. Introduction Brazilian theorist José Marques de Melo, in his book 'Media and Popular Culture' (Melo, 2008), rightly points out that the local culture, far away from being disappeared in the context of globalization, sometimes can emerge and project with greater force its' expressive characteristics through stories as the medium of communication, such is the case of cinema. Drawing on similar thoughts, Professor Jowett and Linton consider cinema was the first modern medium of communication which led to the emergence of authentic mass culture in the 20th century, and films are means of messages generated within the system of filmic communication. To elaborate further, film functions as a drama of reaffirmation of our own beliefs, attitude, and values, as highlighted in their book titled Movie as Mass Communication (1989). On the other hand, film critic Ewa Mazierska's book ‘Polish Popular Music on Screen’ (2020) advocates that what makes a particular kind of music or film worthy of critical acclaim and academic interest is undoubtedly originality. The authenticity of a cultural product is at the heart of any analysis. Whether the identity of the work of art is coherent with the historical and spatial context and has the production of any art form considered originality as its driving factor are questions imperative to studies such as these. A form of art, when exhibited or imitated by a community outside who does not originally own the art form, accounts for inauthenticity, believed Mazierska. An article on 'On Popular Music' (1998) by T. W. Adorno observed that mass consumption leads any form of art, such as film or music, to be labelled as inauthentic.