Abrams, Nathan & Udris, Jan. (2010). Studying film: Vol. Studying the media (2nd ed). Hodder Education.
Acevedo-Muñoz, E. (2004). 'Sex, Class, and Mexico in Alfonso Cuarón’s Y tu mamá también’. Film and History, 34(1). http://muse.jhu.edu/journals/film_and_history/toc/flm34.1.html
Acevedo-Muñoz, E. (2007). ‘Bridges Between the Divide: The Female Body in Y tu mamá también and Machuca’. Studies in Hispanic Cinemas, 4(1). https://doi.org/10.1386/shci.4.1.47_1
Adriana J. Bergero. (2010). 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, 125(2), 433–456. https://doi.org/10.1353/mln.0.0248
Aitken, Ian. (2001). European film theory and cinema: a critical introduction. Edinburgh University Press.
Amaya, H. (2007). ‘Amores perros and Racialised Masculinities in Contemporary Mexico’. New Cinemas: Journal of Contemporary Film, 5(3).
Andrew Sarris. (1968). Film: The Illusion of Naturalism. The Drama Review: TDR, 13(2), 108–112. http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1
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Baer, H., & Long, R. F. (2004). Transnational Cinema and the Mexican State in Alfonso Cuarón’s Y tu mamá también. South Central Review, 21(3). http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40039895
Basoli, A. G. (2002). ‘Sexual Awakenings and Stark Realities: An Interview with Alfonso Cuarón’. Cineaste, 27(3).
Beckman, Karen Redrobe. (2010). Crash: cinema and the politics of speed and stasis. Duke University Press.
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Bordwell, David & Thompson, Kristin. (2013). Film art: an introduction (11th edition). McGraw-Hill. http://www.vlebooks.com/vleweb/product/openreader?id=LeicesterU&isbn=9780077188917
Braudy, Leo & Cohen, Marshall. (2008). Film theory and criticism: introductory readings (7th ed). Oxford University Press.
Brinks, E. (2004). ‘Nobody’s Children’: Gothic Representation and Traumatic History in The Devil’s Backbone’. JAC, 24(2). http://ezproxy.lib.le.ac.uk/login?url=http://www.jstor.org/stable/20866627
Buckland, Warren. (1998). Film studies. Hodder & Stoughton.
Cameron, Allan. (2008). Modular narratives in contemporary cinema. Palgrave Macmillan. http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/book/10.1057/9780230594197
Chavez, D. (2010). ‘The eagle and the Serpent on the Screen: The State as Spectacle in Mexican Cinema’. Latin American Research Review, 45(3). http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40926272
Chun, K., & del Toro, G. (2002). ‘What is a ghost? An interview with Guillermo del Toro’. Cineaste, 27(2). http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=505024241&site=ehost-live
Corrigan, Timothy. (2012). A short guide to writing about film: Vol. The short guide series (8th ed). Pearson.
Cuarón, Alfonso. (2003). Y tu Mamá También =: And your Mother too. Screenpress Books.
Cuarón, Alfonso, Verdu, Maribel, Luna, Diego, & García Bernal, Gael. (2007). Y tu Mamá También =: And your Mother too. Icon Home Entertainment. https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511
Cuarón, Carlos & Cuarón, Alfonso. (2001). Y tú mamá también: guión y argumento cinematográfico. Trilce.
Davies, A. (2007). The Beautiful and the Monstrous Masculine: The Male Body and Horror in                              (Guillermo del Toro 2001). Studies in Hispanic Cinemas, 3(3), 135–147. https://doi.org/10.1386/shci.3.3.135_1
Davies, A. (2012). Spanish spaces: landscape, space and place in contemporary Spanish culture: Vol. Contemporary Hispanic and Lusophone cultures. Liverpool University Press. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=437438
Díaz López, M. (2008). ‘¿Dónde están los hombres? Crisis de la masculinidad mexicana en Y tu mama también’. In S. Igler & T. Stauder (Eds.), Negociando identidades, traspasando fronteras : tendencias en la literatura y el cine Mexicanos en torno al nuevo milenio. Iberoamericana/Vervuert.
Díaz, R. (2005). ‘El viaje como desintegración y fundación ideológica en Y tu mamá también y Diarios de motocicleta’. Ciberletras, 13. http://www.lehman.edu/faculty/guinazu/ciberletras/v13/diaz.htm
Elena, Alberto & Díaz López, Marina. (2003a). The cinema of Latin America: Vol. 24 Frames. Wallflower.
Elena, Alberto & Díaz López, Marina. (2003b). The cinema of Latin America: Vol. 24 Frames. Wallflower.
Escalante, Amat, Rodríguez, Jesús Moisés, & Sosa, Rubén. (2012). Los bastardos: Vol. Artificial eye. Artificial Eye.
Fernández, A. A. (2012). ‘El road movie en México: Hacia el cronotopo del viaje’. In G. Martínez-Zalce & W. Raussert (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.
Finnegan, N. (2007). ‘So What’s Mexico Really Like?: Framing the Local, Negotiating the Global in Alfonso Cuarón’s Y tu mama también’. In D. Shaw (Ed.), Contemporary Latin American Cinema: Breaking the Global Market. Rowman & Littlefield.
Foster, David William. (2002). Mexico City in contemporary Mexican cinema. University of Texas Press.
Furst, Lilian R & Skrine, Peter N. (1971). Naturalism: Vol. The critical idiom. Methuen.
Gibbs, J. (2005). ‘Road Movies Mapping the Nation: Y tu mamá también’. eSharp: Electronic Social Sciences, Humanities, and Arts Review for Postgraduates, 4. http://www.gla.ac.uk/media/media_41153_en.pdf
González Iñárritu, Alejandro, García Bernal, Gael, Toldeo, Goya, & Echevarría, Emilio. (2001). Amores perros =: Love’s a bitch. Optimum Releasing. https://learningonscreen.ac.uk/ondemand/index.php/prog/001B5743?bcast=3015402
Gregori, E. (2006). ‘Geografías urbanas: La representación de la ciudad de México en El sitio y Amores Perros’. Espéculo: Revista de Estudios Literarios, 33. http://dialnet.unirioja.es/servlet/articulo?codigo=2199005
Grochowski, A., & Ibarra Zetter, K. (2011). ‘¡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. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=523843
Haddu, Miriam. (2007). Contemporary Mexican cinema, 1989-1999: history, space, and identity. Edwin Mellen Press.
Hardcastle, A. E. (n.d.). ‘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).
Hart, Stephen M. (2004a). A companion to Latin American film: Vol. Colección Támesis. Serie A, Monografías. Tamesis. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
Hart, Stephen M. (2004b). A companion to Latin American film: Vol. Colección Támesis. Serie A, Monografías. Tamesis. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
Hayward, Susan. (2006). Cinema studies: the key concepts: Vol. Routledge key guides (3rd ed). Routledge. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=268612
Hind, E. (2004). ‘Post-NAFTA Mexican Cinema, 1998-2002’. Studies in Latin American Popular Culture, 23.
Ibarra, E. A. (2012). 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, 12(1), 56–71.
Kendrick, James. (2009). Film violence: history, ideology, genre: Vol. Short cuts. Wallflower.
King, John. (2000). Magical reels: a history of cinema in Latin America: Vol. Critical studies in Latin American and Iberian cultures (New ed). Verso.
King, John, López, Ana M., Alvarado, Manuel, & British Film Institute. (1993). Mediating two worlds: cinematic encounters in the Americas. BFI.
Klecker, Cornelia. (2011). Chronology, Causality ... Confusion: When Avant-Garde Goes Classic. Journal of Film & Video, 63(2), 11–27. http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.2.0011
Laderman, David. (2002). Driving visions: exploring the road movie. University of Texas Press. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3443131
Lawrenson, E., & Pérez Soler, B. (2001). ‘Pup Fiction: an Interview with Alejandro González Iñárritu’. Sight and Sound, 11(5).
Lázaro-Reboll, A. (2007). The Transnational Reception of <I>El espinazo del diablo</I> (Guillermo del Toro 2001). Hispanic Research Journal, 8(1), 39–51. https://doi.org/10.1179/174582007X164320
Lázaro-Reboll, Antonio & Willis, Andrew. (2004). Spanish popular cinema: Vol. Inside popular film. Manchester University Press.
Lie, N., Ku, L., & Mandolessi, S. (2012). Violencia y transnacionalidad en el cine latinoamericano contemporáneo, sobre Carancho (P. Trapero, 2010) y Los Bastardos (A. Escalante, 2008). Secuencias (Madrid, Spain : 1994), 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:
LoBrutto, Vincent. (2005). Becoming film literate: the art and craft of motion pictures. Praeger.
Lowenstein, Adam. (2005). Shocking representation: historical trauma, national cinema, and the modern horror film: Vol. Film and culture. Columbia University Press.
Ma, N. (2006). ‘Affecting legacies: historical memory and contemporary structures of feeling in Madagascar and Amores perros’. In C. Grant & A. Kuhn (Eds.), Screening world cinema. Routledge.
Maciel, David & Hershfield, Joanne. (1999). Mexico’s cinema: a century of film and filmmakers: Vol. Latin American silhouettes. Scholarly Resources.
Maciel, David & San Diego State University. (1990). El Norte: the U.S.-Mexican border in contemporary cinema: Vol. Border studies series. Institute for Regional Studies of the Californias, San Diego State University.
McDonald, K., & Clark, R. (2014). Guillermo del Toro: film as alchemic art. Bloomsbury.
Medrano Platas, Alejandro. (1999). Quince directores del cine Mexicano: entrevistas. Plaza y Valdés.
Menne, J. (n.d.). ‘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
Menne, Jeff. (2007). A Mexican Nouvelle Vague : The Logic of New Waves under Globalization. Cinema Journal, 47(1), 70–92. https://doi.org/10.1353/cj.2007.0054
Monaco, James & Lindroth, David. (2009). How to read a film, movies, media, and beyond: art, technology, language, history, theory (4th ed. completely revised and expanded). Oxford University Press.
Mora, Carl J. (2005). Mexican cinema: reflections of a society, 1896-2004 (3rd ed). McFarland & Company Inc.
Noble, Andrea. (2005). Mexican national cinema: Vol. National cinemas series. Routledge.
Oropesa, S. A. (2008). 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, 3. http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf
Paranaguá, Paulo Antonio, Consejo Nacional para la Cultura y las Artes (Mexico), British Film Institute, & Instituto Mexicano de Cinematografía. (1995). Mexican cinema. British Film Institute.
Pastor, B. M. (2011). ‘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, 187(748). http://arbor.revistas.csic.es/index.php/arbor/article/view/1310/1319
Piersecă, M. (n.d.). ‘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
Podalsky, L. (2003). ‘Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores perros’. Screen, 44(3). https://doi.org/10.1093/screen/44.3.277
Prawer, Siegbert Salomon. (1988). Caligari’s children: the film as tale of terror. Da Capo Press.
Prince, Stephen. (2000). Screening violence: Vol. Rutgers depth of field series. Rutgers University Press.
Rawnsley, M. Y. T. (2009). ‘Realism and National Identity in Y tu mama también: An Audience Perspective’. In L. Nagib (Ed.), Realism and the Audiovisual Media. Palgrave. http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/chapter/10.1057/9780230246973_8
Ribas, A. (n.d.). ‘“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).
Ribas, A. (2009). ‘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, 10(5), 457–481. https://doi.org/10.1179/146827309X12541438883067
Romney, J. (2004). ‘Enigma Variations’. Sight and Sound, 14(3).
Sabbadini, A. (2003). Film Review Essay: ‘Not Something Destroyed but Something that is Alive’: Amores perros at the Intersection of Rescue Fantasies. The International Journal of Psychoanalysis, 84(3). https://doi.org/10.1516/8TF4-KMQQ-QNCQ-H92P
Saldana-Portillo, M. J. (2005). In the Shadow of NAFTA: Y tu mama tambien Revisits the National Allegory of Mexican Sovereignty. American Quarterly, 57(3), 751–777. https://doi.org/10.1353/aq.2005.0051
Sánchez Prado, I. M. (2006). ‘Amores perros: Exotic Violence and Neoliberal Fear’. Journal of Latin American Cultural Studies, 15(1). https://doi.org/10.1080/13569320600596991
Savage, J. (n.d.). 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/
Schaefer, Claudia. (2003). 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.
Schulz Cruz, Bernard. (2010). The evolution of gay imagery in Mexican cinema: an analysis of thirty-six films, 1970-1999. Edwin Mellen.
Serna, J. A. (2002). ‘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, 7. http://www.lehman.cuny.edu/ciberletras/v07/serna.html
Serna, J. A. (2004). ‘El espacio utópico como medio catalizador de la sexualidad masculina y la lucha de clases en Y tu mamá también’. Ciberletras, 11. http://www.lehman.cuny.edu/ciberletras/v11/serna.html
Shaw, D. (2013a). 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.
Shaw, D. (2013b). 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.
Shaw, D. (2013c). 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.
Shaw, Deborah. (2003). Contemporary cinema of Latin America: ten key films. Continuum.
Smith, B. (2010). ‘Re-Narrating Globalization: Hybridity and Resistance in Amores perros, Santitos and El jardín de Edén’. Rupkatha: Journal on Interdisciplinary Studies in Humanities, 2(3). http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf
Smith, Paul Julian. (2001). ‘Ghost of the Civil Dead’. Sight & Sound, 11(12), 38–46. http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=504988620&site=ehost-live
Smith, Paul Julian. (2003). Amores perros: Vol. British Film Institute. British Film Institute.
Solórzano-Thompson, N. (2010). ‘Where Have All the Men Gone? Mexican Foundational Myths and Negative Masculinities in Alejandro González Iñárritu’s Amores perros’. Hispanet Journal, 3. http://www.hispanetjournal.com/WhereHave.pdf
Stanley, M. T. (2006). ‘El cuerpo femenino como emblema nacional en los filmes Ay, Carmela! y El espinazo del diablo’. Letras Hispanas: Revista de Literatura y Cultura, 3(1). https://www.worldlang.txst.edu/letrashispanas/previousvolumes/vol3-1.html
Thomas, S. (2011). ‘Ghostly Affinities: Child Subjectivity and Spectral Presences in El espíritu de la colmena and El espinazo del diablo’. Hispanet Journal, 4. http://www.hispanetjournal.com/Volume4.htm
Thornton, N. (2011). ‘Finding a Place in a Megalopolis: Mexico City in Amores Perros’. In O. Kaltmeier (Ed.), EthniCities: Metropolitan Cultures and Ethnic Identities in the Americas. Wissenschaftlicher Verlag Trier.
Toro, Guillermo Del, Luppi, Frederico, Paredes, Marisa, Garcés, Iñigo, & Noriega, Eduardo. (2002). El espinazo del Diablo =: The Devil’s backbone. Optimum releasing. https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5950?bcast=114425529
Wendorff, L., & Morley, T. J. (2004). ‘Amores perros: A Tragic Weltanschauung’. Film Journal, 1(9).
Williams, Christopher. (1980). Realism and the cinema: a reader: Vol. BFI readers in film studies. Routledge and Kegan Paul [for] British Film Institute.
Wood, Jason. (2006a). Talking movies: contemporary world filmmakers in interview. Wallflower.
Wood, Jason. (2006b). The Faber book of Mexican cinema. Faber.
Wood, T. (2001). Strangely Hopeful Messages - Amores perros. TLS, the Times Literary Supplement, 5122. https://link.gale.com/apps/doc/EX1200504353/TLSH?u=leicester&amp;sid=bookmark-TLSH&amp;xid=3e82d770
Zavala Scherer, D., & Hernández, A. (2012). ‘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.