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González Iñárritu, Alejandro, García Bernal, Gael, Toldeo, Goya, Echevarría, Emilio. Amores perros =: Love’s a bitch. Published online 2001. https://learningonscreen.ac.uk/ondemand/index.php/prog/001B5743?bcast=3015402
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Cuarón, Alfonso, Verdu, Maribel, Luna, Diego, García Bernal, Gael. Y tu Mamá También =: And your Mother too. Published online 2007. https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511
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Toro, Guillermo Del, Luppi, Frederico, Paredes, Marisa, Garcés, Iñigo, Noriega, Eduardo. El espinazo del Diablo =: The Devil’s backbone. Published online 2002. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5950?bcast=114425529
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Escalante, Amat, Rodríguez, Jesús Moisés, Sosa, Rubén. Los bastardos. 2012;Artificial eye.
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Chavez D. ‘The eagle and the Serpent on the Screen: The State as Spectacle in Mexican Cinema’. Latin American Research Review. 2010;45(3). http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40926272
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Elena, Alberto, Díaz López, Marina. The Cinema of Latin America. Vol 24 Frames. Wallflower; 2003.
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Foster, David William. Mexico City in Contemporary Mexican Cinema. University of Texas Press; 2002.
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Haddu, Miriam. Contemporary Mexican Cinema, 1989-1999: History, Space, and Identity. Edwin Mellen Press; 2007.
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Hind E. ‘Post-NAFTA Mexican Cinema, 1998-2002’. Studies in Latin American Popular Culture. 2004;23.
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King, John. Magical Reels: A History of Cinema in Latin America. Vol Critical studies in Latin American and Iberian cultures. New ed. Verso; 2000.
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Medrano Platas, Alejandro. Quince Directores Del Cine Mexicano: Entrevistas. Plaza y Valdés; 1999.
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Noble, Andrea. Mexican National Cinema. Vol National cinemas series. Routledge; 2005.
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Wood, Jason. The Faber Book of Mexican Cinema. Faber; 2006.
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Amaya H. ‘Amores perros and Racialised Masculinities in Contemporary Mexico’. New Cinemas: Journal of Contemporary Film. 2007;5(3).
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Arriaga Jordán, Guillermo. Amores Perros. Faber and Faber; 2001.
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Ayala Blanco, Jorge. La Fugacidad Del Cine Mexicano. Vol Tiempo de Mexico. Oceano; 2001.
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Beckman, Karen Redrobe. Crash: Cinema and the Politics of Speed and Stasis. Duke University Press; 2010.
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Cameron, Allan. Modular Narratives in Contemporary Cinema. Palgrave Macmillan; 2008. http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/book/10.1057/9780230594197
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Gregori E. ‘Geografías urbanas: La representación de la ciudad de México en El sitio y Amores Perros’. Espéculo: Revista de Estudios Literarios. 2006;33. http://dialnet.unirioja.es/servlet/articulo?codigo=2199005
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Elena, Alberto, Díaz López, Marina. The Cinema of Latin America. Vol 24 Frames. Wallflower; 2003.
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Hart, Stephen M. A Companion to Latin American Film. Vol Colección Támesis. Serie A, Monografías. Tamesis; 2004. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
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Klecker, Cornelia. Chronology, Causality ... Confusion: When Avant-Garde Goes Classic. Journal of Film & Video. 2011;63(2):11-27. http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.2.0011
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Lawrenson E, Pérez Soler B. ‘Pup Fiction: an Interview with Alejandro González Iñárritu’. Sight and Sound. 2001;11(5).
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Ma N. ‘Affecting legacies: historical memory and contemporary structures of feeling in Madagascar and Amores perros’. In: Grant C, Kuhn A, eds. Screening World Cinema. Routledge; 2006.
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Menne J. ‘A Mexican Nouvelle Vague: The Logic of New Waves under Globalization’. Cinema Journal. 47(1). http://muse.jhu.edu/journals/cinema_journal/v047/47.1menne.html
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Piersecă M. ‘Gender, Corporeality and Space in Alejandro González Iñárritu’s Amores perros’. Journal for Communication and Culture. 1(2). http://jcc.icc.org.ro/wp-content/uploads/2011/11/JCC-vol-1-no-2-2011-pages-111-127.pdf
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Podalsky L. ‘Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores perros’. Screen. 2003;44(3). doi:10.1093/screen/44.3.277
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Romney J. ‘Enigma Variations’. Sight and Sound. 2004;14(3).
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Ribas A. ‘“El pinche acentito ese”: deseo transátlantico y exotismo satírico en el cine mexicano del cambio del milenio: Amores perros, Y tu mama también y Sin dejar hella.’ Hispanic Research Journal. 10(5).
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Sabbadini A. Film Review Essay: ‘Not Something Destroyed but Something that is Alive’: Amores perros at the Intersection of Rescue Fantasies. The International Journal of Psychoanalysis. 2003;84(3). doi:10.1516/8TF4-KMQQ-QNCQ-H92P
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Sánchez Prado IM. ‘Amores perros: Exotic Violence and Neoliberal Fear’. Journal of Latin American Cultural Studies. 2006;15(1). doi:10.1080/13569320600596991
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Schaefer, Claudia. Bored to Distraction: Cinema of Excess in End-of-the-Century Mexico and Spain. Vol SUNY series in Latin American and Iberian thought and culture. State University of New York Press; 2003.
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Serna JA. ‘El discurso de la subcultura transgresora en el film mexicano Amores perros’. Ciberletras: Revista de Crítica Literaria y de Cultura/Journal of Literary Critisim and Culture. 2002;7. http://www.lehman.cuny.edu/ciberletras/v07/serna.html
39.
Shaw, Deborah. Contemporary Cinema of Latin America: Ten Key Films. Continuum; 2003.
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Shaw D. The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Vol Spanish and Latin American filmmakers. Manchester University Press; 2013.
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Solórzano-Thompson N. ‘Where Have All the Men Gone? Mexican Foundational Myths and Negative Masculinities in Alejandro González Iñárritu’s Amores perros’. Hispanet Journal. 2010;3. http://www.hispanetjournal.com/WhereHave.pdf
42.
Smith B. ‘Re-Narrating Globalization: Hybridity and Resistance in Amores perros, Santitos and El jardín de Edén’. Rupkatha: Journal on Interdisciplinary Studies in Humanities. 2010;2(3). http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf
43.
Smith, Paul Julian. Amores Perros. Vol British Film Institute. British Film Institute; 2003.
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Wendorff L, Morley TJ. ‘Amores perros: A Tragic Weltanschauung’. Film Journal. 2004;1(9).
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Thornton N. ‘Finding a Place in a Megalopolis: Mexico City in Amores Perros’. In: Kaltmeier O, ed. EthniCities: Metropolitan Cultures and Ethnic Identities in the Americas. Wissenschaftlicher Verlag Trier; 2011.
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Wood, Jason. Talking Movies: Contemporary World Filmmakers in Interview. Wallflower; 2006.
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Wood T. Strangely Hopeful Messages - Amores perros. TLS, the Times Literary Supplement. 2001;5122. https://link.gale.com/apps/doc/EX1200504353/TLSH?u=leicester&sid=bookmark-TLSH&xid=3e82d770
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Acevedo-Muñoz E. 'Sex, Class, and Mexico in Alfonso Cuarón’s Y tu mamá también’. Film and History. 2004;34(1). http://muse.jhu.edu/journals/film_and_history/toc/flm34.1.html
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Acevedo-Muñoz E. ‘Bridges Between the Divide: The Female Body in Y tu mamá también and Machuca’. Studies in Hispanic Cinemas. 2007;4(1). doi:10.1386/shci.4.1.47_1
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Aufderheide P. ‘Y tu mamá también’. Cineaste. 2001;27(1).
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Baer H, Long RF. Transnational Cinema and the Mexican State in Alfonso Cuarón’s Y tu mamá también. South Central Review. 2004;21(3). http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40039895
52.
Basoli AG. ‘Sexual Awakenings and Stark Realities: An Interview with Alfonso Cuarón’. Cineaste. 2002;27(3).
53.
Cuarón, Carlos, Cuarón, Alfonso. Y Tú Mamá También: Guión y Argumento Cinematográfico. Trilce; 2001.
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Cuarón, Alfonso. Y Tu Mamá También =: And Your Mother Too. Screenpress Books; 2003.
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Díaz López M. ‘¿Dónde están los hombres? Crisis de la masculinidad mexicana en Y tu mama también’. In: Igler S, Stauder T, eds. Negociando Identidades, Traspasando Fronteras : Tendencias En La Literatura y El Cine Mexicanos En Torno al Nuevo Milenio. Iberoamericana/Vervuert; 2008.
56.
Díaz R. ‘El viaje como desintegración y fundación ideológica en Y tu mamá también y Diarios de motocicleta’. Ciberletras. 2005;13. http://www.lehman.edu/faculty/guinazu/ciberletras/v13/diaz.htm
57.
Fernández AA. ‘El road movie en México: Hacia el cronotopo del viaje’. In: Martínez-Zalce G, Raussert W, eds. Re)Discovering ‘America’: Road Movies and Other Travel Narratives in North America/(Re)Descubriendo ‘America’: Road Movie y Otras Narrativas de Viaje En América Del Norte. Wissenschaftlicher Verlag Trier; 2012.
58.
Finnegan N. ‘So What’s Mexico Really Like?: Framing the Local, Negotiating the Global in Alfonso Cuarón’s Y tu mama también’. In: Shaw D, ed. Contemporary Latin American Cinema: Breaking the Global Market. Rowman & Littlefield; 2007.
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Gibbs J. ‘Road Movies Mapping the Nation: Y tu mamá también’. eSharp: Electronic Social Sciences, Humanities, and Arts Review for Postgraduates. 2005;4. http://www.gla.ac.uk/media/media_41153_en.pdf
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Grochowski A, Ibarra Zetter K. ‘¡No manches, güey! Humor in Mexican Film’. In: Lenguaje, Arte y Revoluciones Ayer y Hoy: New Approaches to Hispanic Linguistic, Literary and Cultural Studies. Cambridge Scholars; 2011. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=523843
61.
Hart, Stephen M. A Companion to Latin American Film. Vol Colección Támesis. Serie A, Monografías. Tamesis; 2004. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
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Menne Jeff. A Mexican Nouvelle Vague : The Logic of New Waves under Globalization. Cinema Journal. 2007;47(1):70-92. doi:10.1353/cj.2007.0054
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Oropesa SA. Proxemics , Homogenization and Diversity in Mexico’s Road Movies: Por la libre (2000), Sin dejarhuella (2000), and Y tu mamá también (2001). Hispanic Issues On Line. 2008;3. http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf
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Rawnsley MYT. ‘Realism and National Identity in Y tu mama también: An Audience Perspective’. In: Nagib L, ed. Realism and the Audiovisual Media. Palgrave; 2009. http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/chapter/10.1057/9780230246973_8
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Ribas A. ‘El pinche acentito ese’: deseo transatlántico y exotismo satírico en el cine mexicano del cambio de milenio: <I>Amores perros, Y tu mamá también</I>, <I>Sin dejar huella</I>. Hispanic Research Journal. 2009;10(5):457-481. doi:10.1179/146827309X12541438883067
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Saldana-Portillo MJ. In the Shadow of NAFTA: Y tu mama tambien Revisits the National Allegory of Mexican Sovereignty. American Quarterly. 2005;57(3):751-777. doi:10.1353/aq.2005.0051
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Schulz Cruz, Bernard. The Evolution of Gay Imagery in Mexican Cinema: An Analysis of Thirty-Six Films, 1970-1999. Edwin Mellen; 2010.
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Serna JA. ‘El espacio utópico como medio catalizador de la sexualidad masculina y la lucha de clases en Y tu mamá también’. Ciberletras. 2004;11. http://www.lehman.cuny.edu/ciberletras/v11/serna.html
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Shaw D. The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Vol Spanish and Latin American filmmakers. Manchester University Press; 2013.
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Zavala Scherer D, Hernández A. ‘Apuntes sobre la familia mexicana y el viaje hacia la madurez: Una revisión de las películas ¡Ay Jalisco... no te rajes!, Los hijos de Sánchez, Y tu mamá también’. In: (Re)Discovering ‘America’: Road Movies and Other Travel Narratives in North America = (Re)Descubriendo ’América’ : Road Movie y Otras Narrativas de Viaje En América Del Norte. Vol Inter-American studies =. Wissenchaftlicher Verlag Trier; 2012.
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Adriana J. Bergero. Espectros, escalofríos y discursividad herida en El espinazo del Diablo. El gótico como cuerpo-geografía cognitiva-emocional de quiebre. No todos los espectros permanecen abandonados. MLN. 2010;125(2):433-456. doi:10.1353/mln.0.0248
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Archibald D. The War That Won’t Die. Manchester University Press; 2014.
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Brinks E. ‘Nobody’s Children’: Gothic Representation and Traumatic History in The Devil’s Backbone’. JAC. 2004;24(2). http://ezproxy.lib.le.ac.uk/login?url=http://www.jstor.org/stable/20866627
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Chun K, del Toro G. ‘What is a ghost? An interview with Guillermo del Toro’. Cineaste. 2002;27(2). http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=505024241&site=ehost-live
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Davies A. The Beautiful and the Monstrous Masculine: The Male Body and Horror in (Guillermo del Toro 2001). Studies in Hispanic Cinemas. 2007;3(3):135-147. doi:10.1386/shci.3.3.135_1
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Davies A. Spanish Spaces: Landscape, Space and Place in Contemporary Spanish Culture. Vol Contemporary Hispanic and Lusophone cultures. Liverpool University Press; 2012. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=437438
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Hardcastle AE. ‘Ghost of the Past and Present: Hauntology and the Spanish Civil War in Guillermo del Toro’s The Devil’s Backbone’. Journal of the Fantastic in the Arts. 15(2).
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Ibarra EA. Permanent hauntings: spectral fantasies and national trauma in Guillermo del Toro’s <I>El espinazo del diablo</I> <I>[The Devil’s Backbone]</I>. Journal of Romance Studies. 2012;12(1):56-71.
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Lázaro-Reboll, Antonio, Willis, Andrew. Spanish Popular Cinema. Vol Inside popular film. Manchester University Press; 2004.
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Lázaro-Reboll A. The Transnational Reception of <I>El espinazo del diablo</I> (Guillermo del Toro 2001). Hispanic Research Journal. 2007;8(1):39-51. doi:10.1179/174582007X164320
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McDonald K, Clark R. Guillermo Del Toro: Film as Alchemic Art. Bloomsbury; 2014.
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Pastor BM. ‘La bella y la bestia en el cine de Guillermo del Toro: El espinazo del diablo y El laberinto del fauno’. ARBOR: Ciencia, Pensamiento y Cultura. 2011;187(748). http://arbor.revistas.csic.es/index.php/arbor/article/view/1310/1319
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Savage J. The Object(s) of Interpretation: Guillermo Del Toro’s El Espinazo Del Diablo (The Devil’s Backbone). Senses of Cinema:: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 12. http://sensesofcinema.com/2002/feature-articles/devil_backbone/
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Shaw D. The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Vol Spanish and Latin American filmmakers. Manchester University Press; 2013.
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Smith, Paul Julian. ‘Ghost of the Civil Dead’. Sight & Sound. 2001;11(12):38-46. http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=504988620&site=ehost-live
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Thomas S. ‘Ghostly Affinities: Child Subjectivity and Spectral Presences in El espíritu de la colmena and El espinazo del diablo’. Hispanet Journal. 2011;4. http://www.hispanetjournal.com/Volume4.htm
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Stanley MT. ‘El cuerpo femenino como emblema nacional en los filmes Ay, Carmela! y El espinazo del diablo’. Letras Hispanas: Revista de Literatura y Cultura. 2006;3(1). https://www.worldlang.txst.edu/letrashispanas/previousvolumes/vol3-1.html
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Lie N, Ku L, Mandolessi S. Violencia y transnacionalidad en el cine latinoamericano contemporáneo, sobre Carancho (P. Trapero, 2010) y Los Bastardos (A. Escalante, 2008). Secuencias (Madrid, Spain : 1994). 2012;35:103-119. http://gl9sn3dh2u.search.serialssolutions.com/?sid=ProQ:&issn=11346795&volume=35&issue=&title=Secuencias&spage=103&date=2012-01-01&atitle=Violencia+y+transnacionalidad+en+el+cine+latinoamericano+contempor%C3%A1neo%2C+sobre+Carancho+%28P.+Trapero%2C+2010%29+y+Los+Bastardos+%28A.+Escalante%2C+2008%29&au=Lie%2C+Nadia%3BKu%2C+Leuven%3BMandolessi%2C+Silvana&id=doi:
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Bordwell, David, Thompson, Kristin. Film Art: An Introduction. 11th edition. McGraw-Hill; 2013. http://www.vlebooks.com/vleweb/product/openreader?id=LeicesterU&isbn=9780077188917
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Braudy, Leo, Cohen, Marshall. Film Theory and Criticism: Introductory Readings. 7th ed. Oxford University Press; 2008.
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Kendrick, James. Film Violence: History, Ideology, Genre. Vol Short cuts. Wallflower; 2009.
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Laderman, David. Driving Visions: Exploring the Road Movie. University of Texas Press; 2002. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3443131
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LoBrutto, Vincent. Becoming Film Literate: The Art and Craft of Motion Pictures. Praeger; 2005.
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Lowenstein, Adam. Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film. Vol Film and culture. Columbia University Press; 2005.
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Monaco, James, Lindroth, David. How to Read a Film, Movies, Media, and beyond: Art, Technology, Language, History, Theory. 4th ed. completely revised and expanded. Oxford University Press; 2009.
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Prince, Stephen. Screening Violence. Vol Rutgers depth of field series. Rutgers University Press; 2000.
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Andrew Sarris. Film: The Illusion of Naturalism. The Drama Review: TDR. 1968;13(2):108-112. http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1
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