Abrams, Nathan and Udris, Jan (2010) Studying film. 2nd ed. London: Hodder Education.
Acevedo-Muñoz, E. (2004) ‘'Sex, Class, and Mexico in Alfonso Cuarón’s Y tu mamá también’’, Film and History, 34(1). Available at: 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). Available at: 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), pp. 433–456. Available at: https://doi.org/10.1353/mln.0.0248.
Aitken, Ian (2001) European film theory and cinema: a critical introduction. Edinburgh: 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), pp. 108–112. Available at: http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1.
Archibald, D. (2014) The War That Won’t Die. Manchester University Press.
Arriaga Jordán, Guillermo (2001) Amores perros. London: Faber and Faber.
Aufderheide, P. (2001) ‘“Y tu mamá también”’, Cineaste, 27(1).
Ayala Blanco, Jorge (2001) La fugacidad del cine mexicano. México D.F.: Oceano.
Baer, H. and Long, R.F. (2004) ‘Transnational Cinema and the Mexican State in Alfonso Cuarón’s Y tu mamá también’, South Central Review, 21(3). Available at: 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. Durham, N.C.: Duke University Press.
Bordwell, David (1997) On the history of film style. Cambridge, Mass: Harvard University Press.
Bordwell, David and Thompson, Kristin (2013) Film art: an introduction. 11th edition. New York, N.Y.: McGraw-Hill. Available at: http://www.vlebooks.com/vleweb/product/openreader?id=LeicesterU&isbn=9780077188917.
Braudy, Leo and Cohen, Marshall (2008) Film theory and criticism: introductory readings. 7th ed. Oxford: Oxford University Press.
Brinks, E. (2004) ‘“Nobody’s Children’: Gothic Representation and Traumatic History in The Devil’s Backbone”’, JAC, 24(2). Available at: http://ezproxy.lib.le.ac.uk/login?url=http://www.jstor.org/stable/20866627.
Buckland, Warren (1998) Film studies. London: Hodder & Stoughton.
Cameron, Allan (2008) Modular narratives in contemporary cinema. Basingstoke: Palgrave Macmillan. Available at: 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). Available at: http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40926272.
Chun, K. and del Toro, G. (2002) ‘“What is a ghost? An interview with Guillermo del Toro”.’, Cineaste, 27(2). Available at: 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. 8th ed. Boston, Mass: Pearson.
Cuarón, Alfonso (2003) Y tu Mamá También =: And your Mother too. Southwold: Screenpress Books.
Cuarón, Alfonso et al. (2007) ‘Y tu Mamá También =: And your Mother too’. [S.l.]: Icon Home Entertainment. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511.
Cuarón, Carlos and Cuarón, Alfonso (2001) Y tú mamá también: guión y argumento cinematográfico. México D.F.: 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), pp. 135–147. Available at: https://doi.org/10.1386/shci.3.3.135_1.
Davies, A. (2012) Spanish spaces: landscape, space and place in contemporary Spanish culture. Liverpool: Liverpool University Press. Available at: 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 and T. Stauder (eds) Negociando identidades, traspasando fronteras : tendencias en la literatura y el cine Mexicanos en torno al nuevo milenio. Madrid: Iberoamericana/Vervuert.
Díaz, R. (2005) ‘“El viaje como desintegración y fundación ideológica en Y tu mamá también y Diarios de motocicleta”’, Ciberletras, 13. Available at: http://www.lehman.edu/faculty/guinazu/ciberletras/v13/diaz.htm.
Elena, Alberto and Díaz López, Marina (2003a) The cinema of Latin America. London: Wallflower.
Elena, Alberto and Díaz López, Marina (2003b) The cinema of Latin America. London: Wallflower.
Escalante, Amat, Rodríguez, Jesús Moisés, and Sosa, Rubén (2012) ‘Los bastardos’. [S.l.]: Artificial Eye.
Fernández, A.A. (2012) ‘“El road movie en México: Hacia el cronotopo del viaje”’, in G. Martínez-Zalce and 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. Trier, Germany: 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. Lanham, MD: Rowman & Littlefield.
Foster, David William (2002) Mexico City in contemporary Mexican cinema. Austin: University of Texas Press.
Furst, Lilian R and Skrine, Peter N (1971) Naturalism. London: Methuen.
Gibbs, J. (2005) ‘“Road Movies Mapping the Nation: Y tu mamá también”’, eSharp: Electronic Social Sciences, Humanities, and Arts Review for Postgraduates, 4. Available at: http://www.gla.ac.uk/media/media_41153_en.pdf.
González Iñárritu, Alejandro et al. (2001) ‘Amores perros =: Love’s a bitch’. [S.l.]: Optimum Releasing. Available at: 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. Available at: http://dialnet.unirioja.es/servlet/articulo?codigo=2199005.
Grochowski, A. and 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. Newcastle: Cambridge Scholars. Available at: 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. Lewiston, NY: Edwin Mellen Press.
Hardcastle, A.E. (no date) ‘“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. Rochester: Tamesis. Available at: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507.
Hart, Stephen M. (2004b) A companion to Latin American film. Rochester: Tamesis. Available at: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507.
Hayward, Susan (2006) Cinema studies: the key concepts. 3rd ed. London: Routledge. Available at: 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), pp. 56–71.
Kendrick, James (2009) Film violence: history, ideology, genre. London: Wallflower.
King, John et al. (1993) Mediating two worlds: cinematic encounters in the Americas. London: BFI.
King, John (2000) Magical reels: a history of cinema in Latin America. New ed. London: Verso.
Klecker, Cornelia (2011) ‘Chronology, Causality ... Confusion: When Avant-Garde Goes Classic.’, Journal of Film & Video, 63(2), pp. 11–27. Available at: 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. Austin, Tex: University of Texas Press. Available at: https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3443131.
Lawrenson, E. and 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), pp. 39–51. Available at: https://doi.org/10.1179/174582007X164320.
Lázaro-Reboll, Antonio and Willis, Andrew (2004) Spanish popular cinema. Manchester: Manchester University Press.
Lie, N., Ku, L. and 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, pp. 103–119. Available at: 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. Westport, Conn: Praeger.
Lowenstein, Adam (2005) Shocking representation: historical trauma, national cinema, and the modern horror film. New York: Columbia University Press.
Ma, N. (2006) ‘“Affecting legacies: historical memory and contemporary structures of feeling in Madagascar and Amores perros”’, in C. Grant and A. Kuhn (eds) Screening world cinema. New York: Routledge.
Maciel, David and Hershfield, Joanne (1999) Mexico’s cinema: a century of film and filmmakers. Wilmington, Del: Scholarly Resources.
Maciel, David and San Diego State University (1990) El Norte: the U.S.-Mexican border in contemporary cinema. San Diego, Calif: Institute for Regional Studies of the Californias, San Diego State University.
McDonald, K. and Clark, R. (2014) Guillermo del Toro: film as alchemic art. New York: Bloomsbury.
Medrano Platas, Alejandro (1999) Quince directores del cine Mexicano: entrevistas. México, D.F.: Plaza y Valdés.
Menne, J. (no date) ‘“A Mexican Nouvelle Vague: The Logic of New Waves under Globalization”’, Cinema Journal, 47(1). Available at: 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), pp. 70–92. Available at: https://doi.org/10.1353/cj.2007.0054.
Monaco, James and Lindroth, David (2009) How to read a film, movies, media, and beyond: art, technology, language, history, theory. 4th ed. completely revised and expanded. Oxford: Oxford University Press.
Mora, Carl J. (2005) Mexican cinema: reflections of a society, 1896-2004. 3rd ed. Jefferson: McFarland & Company Inc.
Noble, Andrea (2005) Mexican national cinema. London: 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. Available at: http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf.
Paranaguá, Paulo Antonio et al. (1995) Mexican cinema. London: 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). Available at: http://arbor.revistas.csic.es/index.php/arbor/article/view/1310/1319.
Piersecă, M. (no date) ‘“Gender, Corporeality and Space in Alejandro González Iñárritu’s Amores perros”’, Journal for Communication and Culture, 1(2). Available at: 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). Available at: https://doi.org/10.1093/screen/44.3.277.
Prawer, Siegbert Salomon (1988) Caligari’s children: the film as tale of terror. New York: Da Capo Press.
Prince, Stephen (2000) Screening violence. New Brunswick, N.J.: 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. Basingstoke: Palgrave. Available at: http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/chapter/10.1057/9780230246973_8.
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), pp. 457–481. Available at: https://doi.org/10.1179/146827309X12541438883067.
Ribas, A. (no date) ‘“‘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).
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). Available at: 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), pp. 751–777. Available at: 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). Available at: https://doi.org/10.1080/13569320600596991.
Savage, J. (no date) ‘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. Available at: 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. Albany, N.Y.: 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. Lewiston, N.Y.: 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. Available at: 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. Available at: 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. Manchester: Manchester University Press.
Shaw, D. (2013b) The three amigos: the transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Manchester: Manchester University Press.
Shaw, D. (2013c) The three amigos: the transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Manchester: Manchester University Press.
Shaw, Deborah (2003) Contemporary cinema of Latin America: ten key films. New York: 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). Available at: http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf.
Smith, Paul Julian (2001) ‘“Ghost of the Civil Dead”’, Sight & Sound, 11(12), pp. 38–46. Available at: 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. London: 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. Available at: 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). Available at: 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. Available at: 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. Trier, Germany: Wissenschaftlicher Verlag Trier.
Toro, Guillermo Del et al. (2002) ‘El espinazo del Diablo =: The Devil’s backbone’. [S.l.]: Optimum releasing. Available at: https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5950?bcast=114425529.
Wendorff, L. and Morley, T.J. (2004) ‘“Amores perros: A Tragic Weltanschauung”’, Film Journal, 1(9).
Williams, Christopher (1980) Realism and the cinema: a reader. London: Routledge and Kegan Paul [for] British Film Institute.
Wood, Jason (2006a) Talking movies: contemporary world filmmakers in interview. London: Wallflower.
Wood, Jason (2006b) The Faber book of Mexican cinema. London: Faber.
Wood, T. (2001) ‘Strangely Hopeful Messages - Amores perros’, TLS, the Times Literary Supplement, 5122. Available at: https://link.gale.com/apps/doc/EX1200504353/TLSH?u=leicester&amp;sid=bookmark-TLSH&amp;xid=3e82d770.
Zavala Scherer, D. and 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. Trier, Germany: Wissenchaftlicher Verlag Trier.