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González Iñárritu, Alejandro, García Bernal, Gael, Toldeo, Goya, et al. Amores perros =: Love’s a bitch. 2001.https://learningonscreen.ac.uk/ondemand/index.php/prog/001B5743?bcast=3015402
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Cuarón, Alfonso, Verdu, Maribel, Luna, Diego, et al. Y tu Mamá También =: And your Mother too. 2007.https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511
3
Toro, Guillermo Del, Luppi, Frederico, Paredes, Marisa, et al. El espinazo del Diablo =: The Devil’s backbone. 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.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. London: : Wallflower 2003.
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Foster, David William. Mexico City in contemporary Mexican cinema. Austin: : University of Texas Press 2002.
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Haddu, Miriam. Contemporary Mexican cinema, 1989-1999: history, space, and identity. Lewiston, NY: : 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. New ed. London: : Verso 2000.
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King, John, López, Ana M., Alvarado, Manuel, et al. Mediating two worlds: cinematic encounters in the Americas. London: : BFI 1993.
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Maciel, David, San Diego State University. El Norte: the U.S.-Mexican border in contemporary cinema. San Diego, Calif: : Institute for Regional Studies of the Californias, San Diego State University 1990.
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Maciel, David, Hershfield, Joanne. Mexico’s cinema: a century of film and filmmakers. Wilmington, Del: : Scholarly Resources 1999.
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Medrano Platas, Alejandro. Quince directores del cine Mexicano: entrevistas. México, D.F.: : Plaza y Valdés 1999.
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Mora, Carl J. Mexican cinema: reflections of a society, 1896-2004. 3rd ed. Jefferson: : McFarland & Company Inc 2005.
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Noble, Andrea. Mexican national cinema. London: : Routledge 2005.
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Paranaguá, Paulo Antonio, Consejo Nacional para la Cultura y las Artes (Mexico), British Film Institute, et al. Mexican cinema. London: : British Film Institute 1995.
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Wood, Jason. The Faber book of Mexican cinema. London: : Faber 2006.
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Amaya H. ‘Amores perros and Racialised Masculinities in Contemporary Mexico’. New Cinemas: Journal of Contemporary Film 2007;5.
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Arriaga Jordán, Guillermo. Amores perros. London: : Faber and Faber 2001.
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Ayala Blanco, Jorge. La fugacidad del cine mexicano. México D.F.: : Oceano 2001.
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Beckman, Karen Redrobe. Crash: cinema and the politics of speed and stasis. Durham, N.C.: : Duke University Press 2010.
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Cameron, Allan. Modular narratives in contemporary cinema. Basingstoke: : 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. London: : Wallflower 2003.
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Hart, Stephen M. A companion to Latin American film. Rochester: : Tamesis 2004. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
27
Klecker, Cornelia. Chronology, Causality ... Confusion: When Avant-Garde Goes Classic. Journal of Film & Video 2011;63:11–27.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.
29
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. New York: : Routledge 2006.
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Menne J. ‘A Mexican Nouvelle Vague: The Logic of New Waves under Globalization’. Cinema Journal;47.http://muse.jhu.edu/journals/cinema_journal/v047/47.1menne.html
31
Piersecă M. ‘Gender, Corporeality and Space in Alejandro González Iñárritu’s Amores perros’. Journal for Communication and Culture;1.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. doi:10.1093/screen/44.3.277
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Romney J. ‘Enigma Variations’. Sight and Sound 2004;14.
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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.
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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. 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. doi:10.1080/13569320600596991
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Schaefer, Claudia. Bored to distraction: cinema of excess in end-of-the-century Mexico and Spain. Albany, N.Y.: : 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
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Shaw, Deborah. Contemporary cinema of Latin America: ten key films. New York: : Continuum 2003.
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Shaw D. The three amigos: the transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Manchester: : Manchester University Press 2013.
41
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
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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.http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf
43
Smith, Paul Julian. Amores perros. London: : British Film Institute 2003.
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Wendorff L, Morley TJ. ‘Amores perros: A Tragic Weltanschauung’. Film Journal 2004;1.
45
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. Trier, Germany: : Wissenschaftlicher Verlag Trier 2011.
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Wood, Jason. Talking movies: contemporary world filmmakers in interview. London: : 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.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. doi:10.1386/shci.4.1.47_1
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Aufderheide P. ‘Y tu mamá también’. Cineaste 2001;27.
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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.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.
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Cuarón, Carlos, Cuarón, Alfonso. Y tú mamá también: guión y argumento cinematográfico. México D.F.: : Trilce 2001.
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Cuarón, Alfonso. Y tu Mamá También =: And your Mother too. Southwold: : 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. Madrid: : Iberoamericana/Vervuert 2008.
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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
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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. Trier, Germany: : Wissenschaftlicher Verlag Trier 2012.
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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. Lanham, MD: : 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. Newcastle: : Cambridge Scholars 2011. http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=523843
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Hart, Stephen M. A companion to Latin American film. Rochester: : Tamesis 2004. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507
62
Menne Jeff. A Mexican Nouvelle Vague : The Logic of New Waves under Globalization. Cinema Journal 2007;47:70–92. 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. Basingstoke: : 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;10:457–81. 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;57:751–77. 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. Lewiston, N.Y.: : 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. Manchester: : 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. Trier, Germany: : 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;125:433–56. 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.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.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;3:135–47. doi:10.1386/shci.3.3.135_1
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Davies A. Spanish spaces: landscape, space and place in contemporary Spanish culture. Liverpool: : 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.
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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;12:56–71.
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Lázaro-Reboll, Antonio, Willis, Andrew. Spanish popular cinema. Manchester: : 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;8:39–51. doi:10.1179/174582007X164320
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McDonald K, Clark R. Guillermo del Toro: film as alchemic art. New York: : 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.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. Manchester: : Manchester University Press 2013.
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Smith, Paul Julian. ‘Ghost of the Civil Dead’. Sight & Sound 2001;11:38–46.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.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;35:103–19.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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Abrams, Nathan, Udris, Jan. Studying film. 2nd ed. London: : Hodder Education 2010.
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Bordwell, David. On the history of film style. Cambridge, Mass: : Harvard University Press 1997.
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Bordwell, David, Thompson, Kristin. Film art: an introduction. 11th edition. New York, N.Y.: : 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: : Oxford University Press 2008.
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Buckland, Warren. Film studies. London: : Hodder & Stoughton 1998.
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Furst, Lilian R, Skrine, Peter N. Naturalism. London: : Methuen 1971.
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Hayward, Susan. Cinema studies: the key concepts. 3rd ed. London: : Routledge 2006. https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=268612
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Kendrick, James. Film violence: history, ideology, genre. London: : Wallflower 2009.
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Laderman, David. Driving visions: exploring the road movie. Austin, Tex: : 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. Westport, Conn: : Praeger 2005.
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Lowenstein, Adam. Shocking representation: historical trauma, national cinema, and the modern horror film. New York: : 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: : Oxford University Press 2009.
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Prawer, Siegbert Salomon. Caligari’s children: the film as tale of terror. New York: : Da Capo Press 1988.
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Prince, Stephen. Screening violence. New Brunswick, N.J.: : Rutgers University Press 2000.
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Andrew Sarris. Film: The Illusion of Naturalism. The Drama Review: TDR 1968;13:108–12.http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1
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Williams, Christopher. Realism and the cinema: a reader. London: : Routledge and Kegan Paul [for] British Film Institute 1980.
