Bibliography for SP2035: Contemporary Mexican Cinema

Abrams, Nathan and Udris, Jan, Studying Film, 2nd ed (London: Hodder Education, 2010), Studying the media

Acevedo-Muñoz, Ernesto, ‘‘Bridges Between the Divide: The Female Body in Y Tu Mamá También and Machuca’’, Studies in Hispanic Cinemas, 4.1 (2007) <https://doi.org/10.1386/shci.4.1.47_1>

———, ‘'Sex, Class, and Mexico in Alfonso Cuarón’s Y Tu Mamá También’’, Film and History, 34.1 (2004) <http://muse.jhu.edu/journals/film_and_history/toc/flm34.1.html>

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, 125.2 (2010), 433–56 <https://doi.org/10.1353/mln.0.0248>

Aitken, Ian, European Film Theory and Cinema: A Critical Introduction (Edinburgh: Edinburgh University Press, 2001)

Amaya, Hector, ‘“Amores Perros and Racialised Masculinities in Contemporary Mexico”’, New Cinemas: Journal of Contemporary Film, 5.3 (2007)

Andrew Sarris, ‘Film: The Illusion of Naturalism’, The Drama Review: TDR, 13.2 (1968), 108–12 <http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1>

Archibald, David, The War That Won’t Die (Manchester University Press, 2014)

Arriaga Jordán, Guillermo, Amores Perros (London: Faber and Faber, 2001)

Aufderheide, P, ‘“Y Tu Mamá También”’, Cineaste, 27.1 (2001)

Ayala Blanco, Jorge, La Fugacidad Del Cine Mexicano (México D.F.: Oceano, 2001), Tiempo de Mexico

Baer, Hester, and Ryan Fred Long, ‘Transnational Cinema and the Mexican State in Alfonso Cuarón’s Y Tu Mamá También’, South Central Review, 21.3 (2004) <http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40039895>

Basoli, A.G., ‘“Sexual Awakenings and Stark Realities: An Interview with Alfonso Cuarón”’, Cineaste, 27.3 (2002)

Beckman, Karen Redrobe, Crash: Cinema and the Politics of Speed and Stasis (Durham, N.C.: Duke University Press, 2010)

Bordwell, David, On the History of Film Style (Cambridge, Mass: Harvard University Press, 1997)

Bordwell, David and 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>

Braudy, Leo and Cohen, Marshall, Film Theory and Criticism: Introductory Readings, 7th ed (Oxford: Oxford University Press, 2008)

Brinks, Ellen, ‘“Nobody’s Children’: Gothic Representation and Traumatic History in The Devil’s Backbone”’, JAC, 24.2 (2004) <http://ezproxy.lib.le.ac.uk/login?url=http://www.jstor.org/stable/20866627>

Buckland, Warren, Film Studies (London: Hodder & Stoughton, 1998)

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>

Chavez, Daniel, ‘“The Eagle and the Serpent on the Screen: The State as Spectacle in Mexican Cinema”’, Latin American Research Review, 45.3 (2010) <http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40926272>

Chun, Kimberly, and Guillermo del Toro, ‘“What Is a Ghost? An Interview with Guillermo Del Toro”.’, Cineaste, 27.2 (2002) <http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=505024241&site=ehost-live>

Corrigan, Timothy, A Short Guide to Writing about Film, 8th ed (Boston, Mass: Pearson, 2012), The short guide series

Cuarón, Alfonso, Y Tu Mamá También =: And Your Mother Too (Southwold: Screenpress Books, 2003)

Cuarón, Alfonso, Verdu, Maribel, Luna, Diego, and García Bernal, Gael, ‘Y Tu Mamá También =: And Your Mother Too’ ([S.l.]: Icon Home Entertainment, 2007) <https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511>

Cuarón, Carlos and Cuarón, Alfonso, Y Tú Mamá También: Guión y Argumento Cinematográfico (México D.F.: Trilce, 2001)

Davies, Ann, Spanish Spaces: Landscape, Space and Place in Contemporary Spanish Culture (Liverpool: Liverpool University Press, 2012), Contemporary Hispanic and Lusophone cultures <http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=437438>

———, ‘The Beautiful and the Monstrous Masculine: The Male Body and Horror in (Guillermo Del Toro 2001)’, Studies in Hispanic Cinemas, 3.3 (2007), 135–47 <https://doi.org/10.1386/shci.3.3.135_1>

Díaz López, Marina, ‘‘¿Dónde Están Los Hombres? Crisis de La Masculinidad Mexicana En Y Tu Mama También’’, in Negociando Identidades, Traspasando Fronteras : Tendencias En La Literatura y El Cine Mexicanos En Torno al Nuevo Milenio, ed. by Susanna Igler and Thomas Stauder (Madrid: Iberoamericana/Vervuert, 2008)

Díaz, Rosana, ‘“El Viaje Como Desintegración y Fundación Ideológica En Y Tu Mamá También y Diarios de Motocicleta”’, Ciberletras, 13 (2005) <http://www.lehman.edu/faculty/guinazu/ciberletras/v13/diaz.htm>

Elena, Alberto and Díaz López, Marina, The Cinema of Latin America (London: Wallflower, 2003), 24 Frames

———, The Cinema of Latin America (London: Wallflower, 2003), 24 Frames

Escalante, Amat, Rodríguez, Jesús Moisés, and Sosa, Rubén, ‘Los Bastardos’ ([S.l.]: Artificial Eye, 2012)

Fernández, Alvaro A., ‘“El Road Movie En México: Hacia El Cronotopo Del Viaje”’, in 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, ed. by Graciela Martínez-Zalce and Wilfried Raussert (Trier, Germany: Wissenschaftlicher Verlag Trier, 2012)

Finnegan, Nuala, ‘‘So What’s Mexico Really Like?: Framing the Local, Negotiating the Global in Alfonso Cuarón’s Y Tu Mama También’’, in Contemporary Latin American Cinema: Breaking the Global Market, ed. by Deborah Shaw (Lanham, MD: Rowman & Littlefield, 2007)

Foster, David William, Mexico City in Contemporary Mexican Cinema (Austin: University of Texas Press, 2002)

Furst, Lilian R and Skrine, Peter N, Naturalism (London: Methuen, 1971), The critical idiom

Gibbs, Jessie, ‘“Road Movies Mapping the Nation: Y Tu Mamá También”’, eSharp: Electronic Social Sciences, Humanities, and Arts Review for Postgraduates, 4 (2005) <http://www.gla.ac.uk/media/media_41153_en.pdf>

González Iñárritu, Alejandro, García Bernal, Gael, Toldeo, Goya, and Echevarría, Emilio, ‘Amores Perros =: Love’s a Bitch’ ([S.l.]: Optimum Releasing, 2001) <https://learningonscreen.ac.uk/ondemand/index.php/prog/001B5743?bcast=3015402>

Gregori, Eduardo, ‘“Geografías Urbanas: La Representación de La Ciudad de México En El Sitio y Amores Perros”’, Espéculo: Revista de Estudios Literarios, 33 (2006) <http://dialnet.unirioja.es/servlet/articulo?codigo=2199005>

Grochowski, Alison, and Karol Ibarra Zetter, ‘“¡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>

Haddu, Miriam, Contemporary Mexican Cinema, 1989-1999: History, Space, and Identity (Lewiston, NY: Edwin Mellen Press, 2007)

Hardcastle, Anne E., ‘“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., A Companion to Latin American Film (Rochester: Tamesis, 2004), Colección Támesis. Serie A, Monografías <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507>

———, A Companion to Latin American Film (Rochester: Tamesis, 2004), Colección Támesis. Serie A, Monografías <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507>

Hayward, Susan, Cinema Studies: The Key Concepts, 3rd ed (London: Routledge, 2006), Routledge key guides <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=268612>

Hind, E, ‘“Post-NAFTA Mexican Cinema, 1998-2002”’, Studies in Latin American Popular Culture, 23 (2004)

Ibarra, Enrique Ajuria, ‘Permanent Hauntings: Spectral Fantasies and National Trauma in Guillermo Del Toro’s El Espinazo Del Diablo [The Devil’s Backbone]’, Journal of Romance Studies, 12.1 (2012), 56–71

Kendrick, James, Film Violence: History, Ideology, Genre (London: Wallflower, 2009), Short cuts

King, John, Magical Reels: A History of Cinema in Latin America, New ed (London: Verso, 2000), Critical studies in Latin American and Iberian cultures

King, John, López, Ana M., Alvarado, Manuel, and British Film Institute, Mediating Two Worlds: Cinematic Encounters in the Americas (London: BFI, 1993)

Klecker, Cornelia, ‘Chronology, Causality ... Confusion: When Avant-Garde Goes Classic.’, Journal of Film & Video, 63.2 (2011), 11–27 <http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/10.5406/jfilmvideo.63.2.0011>

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>

Lawrenson, Edward, and Bernardo Pérez Soler, ‘“Pup Fiction: An Interview with Alejandro González Iñárritu”’, Sight and Sound, 11.5 (2001)

Lázaro-Reboll, Antonio, ‘The Transnational Reception of El Espinazo Del Diablo (Guillermo Del Toro 2001)’, Hispanic Research Journal, 8.1 (2007), 39–51 <https://doi.org/10.1179/174582007X164320>

Lázaro-Reboll, Antonio and Willis, Andrew, Spanish Popular Cinema (Manchester: Manchester University Press, 2004), Inside popular film

Lie, Nadia, Leuven Ku, and Silvana Mandolessi, ‘Violencia y Transnacionalidad En El Cine Latinoamericano Contemporáneo, Sobre Carancho (P. Trapero, 2010) y Los Bastardos (A. Escalante, 2008)’, Secuencias (Madrid, Spain : 1994), 35 (2012), 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:>

LoBrutto, Vincent, Becoming Film Literate: The Art and Craft of Motion Pictures (Westport, Conn: Praeger, 2005)

Lowenstein, Adam, Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film (New York: Columbia University Press, 2005), Film and culture

Ma, Ning, ‘“Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores Perros”’, in Screening World Cinema, ed. by Catherine Grant and Annette Kuhn (New York: Routledge, 2006)

Maciel, David and Hershfield, Joanne, Mexico’s Cinema: A Century of Film and Filmmakers (Wilmington, Del: Scholarly Resources, 1999), Latin American silhouettes

Maciel, David and 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), Border studies series

McDonald, Keith, and Roger Clark, Guillermo Del Toro: Film as Alchemic Art (New York: Bloomsbury, 2014)

Medrano Platas, Alejandro, Quince Directores Del Cine Mexicano: Entrevistas (México, D.F.: Plaza y Valdés, 1999)

Menne, Jeff, ‘“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., ‘A Mexican Nouvelle Vague : The Logic of New Waves under Globalization’, Cinema Journal, 47.1 (2007), 70–92 <https://doi.org/10.1353/cj.2007.0054>

Monaco, James and 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)

Mora, Carl J., Mexican Cinema: Reflections of a Society, 1896-2004, 3rd ed (Jefferson: McFarland & Company Inc, 2005)

Noble, Andrea, Mexican National Cinema (London: Routledge, 2005), National cinemas series

Oropesa, Salvador A., ‘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 (2008) <http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf>

Paranaguá, Paulo Antonio, Consejo Nacional para la Cultura y las Artes (Mexico), British Film Institute, and Instituto Mexicano de Cinematografía, Mexican Cinema (London: British Film Institute, 1995)

Pastor, Brígida M., ‘“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 (2011) <http://arbor.revistas.csic.es/index.php/arbor/article/view/1310/1319>

Piersecă, Mădălina, ‘“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, Laura, ‘“Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores Perros”’, Screen, 44.3 (2003) <https://doi.org/10.1093/screen/44.3.277>

Prawer, Siegbert Salomon, Caligari’s Children: The Film as Tale of Terror (New York: Da Capo Press, 1988)

Prince, Stephen, Screening Violence (New Brunswick, N.J.: Rutgers University Press, 2000), Rutgers depth of field series

Rawnsley, M.Y.T., ‘“Realism and National Identity in Y Tu Mama También: An Audience Perspective”’, in Realism and the Audiovisual Media, ed. by Lucia Nagib (Basingstoke: Palgrave, 2009) <http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/chapter/10.1057/9780230246973_8>

Ribas, Alberto, ‘“El Pinche Acentito Ese”: Deseo Transatlántico y Exotismo Satírico En El Cine Mexicano Del Cambio de Milenio: Amores Perros, Y Tu Mamá También, Sin Dejar Huella’, Hispanic Research Journal, 10.5 (2009), 457–81 <https://doi.org/10.1179/146827309X12541438883067>

———, ‘“‘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, Jonathan, ‘“Enigma Variations”’, Sight and Sound, 14.3 (2004)

Sabbadini, Andrea, ‘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 (2003) <https://doi.org/10.1516/8TF4-KMQQ-QNCQ-H92P>

Saldana-Portillo, Maria Josefina, ‘In the Shadow of NAFTA: Y Tu Mama Tambien Revisits the National Allegory of Mexican Sovereignty’, American Quarterly, 57.3 (2005), 751–77 <https://doi.org/10.1353/aq.2005.0051>

Sánchez Prado, Ignacio M., ‘“Amores Perros: Exotic Violence and Neoliberal Fear”’, Journal of Latin American Cultural Studies, 15.1 (2006) <https://doi.org/10.1080/13569320600596991>

Savage, Julian, ‘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, Bored to Distraction: Cinema of Excess in End-of-the-Century Mexico and Spain (Albany, N.Y.: State University of New York Press, 2003), SUNY series in Latin American and Iberian thought and culture

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)

Serna, Juan Antonio, ‘“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 (2002) <http://www.lehman.cuny.edu/ciberletras/v07/serna.html>

———, ‘“El Espacio Utópico Como Medio Catalizador de La Sexualidad Masculina y La Lucha de Clases En Y Tu Mamá También”’, Ciberletras, 11 (2004) <http://www.lehman.cuny.edu/ciberletras/v11/serna.html>

Shaw, Deborah, Contemporary Cinema of Latin America: Ten Key Films (New York: Continuum, 2003)

Shaw, Deborah, The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón (Manchester: Manchester University Press, 2013), Spanish and Latin American filmmakers

———, The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón (Manchester: Manchester University Press, 2013), Spanish and Latin American filmmakers

———, The Three Amigos: The Transnational Filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón (Manchester: Manchester University Press, 2013), Spanish and Latin American filmmakers

Smith, Brent, ‘“Re-Narrating Globalization: Hybridity and Resistance in Amores Perros, Santitos and El Jardín de Edén”’, Rupkatha: Journal on Interdisciplinary Studies in Humanities, 2.3 (2010) <http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf>

Smith, Paul Julian, Amores Perros (London: British Film Institute, 2003), British Film Institute

———, ‘“Ghost of the Civil Dead”’, Sight & Sound, 11.12 (2001), 38–46 <http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=504988620&site=ehost-live>

Solórzano-Thompson, Nohemy, ‘“Where Have All the Men Gone? Mexican Foundational Myths and Negative Masculinities in Alejandro González Iñárritu’s Amores Perros”’, Hispanet Journal, 3 (2010) <http://www.hispanetjournal.com/WhereHave.pdf>

Stanley, Maureen Tobin, ‘“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 (2006) <https://www.worldlang.txst.edu/letrashispanas/previousvolumes/vol3-1.html>

Thomas, Sarah, ‘“Ghostly Affinities: Child Subjectivity and Spectral Presences in El Espíritu de La Colmena and El Espinazo Del Diablo”’, Hispanet Journal, 4 (2011) <http://www.hispanetjournal.com/Volume4.htm>

Thornton, Naimh, ‘“Finding a Place in a Megalopolis: Mexico City in Amores Perros”’, in EthniCities: Metropolitan Cultures and Ethnic Identities in the Americas, ed. by Olaf Kaltmeier (Trier, Germany: Wissenschaftlicher Verlag Trier, 2011)

Toro, Guillermo Del, Luppi, Frederico, Paredes, Marisa, Garcés, Iñigo, and Noriega, Eduardo, ‘El Espinazo Del Diablo =: The Devil’s Backbone’ ([S.l.]: Optimum releasing, 2002) <https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5950?bcast=114425529>

Wendorff, Liliana, and Thomas J. Morley, ‘“Amores Perros: A Tragic Weltanschauung”’, Film Journal, 1.9 (2004)

Williams, Christopher, Realism and the Cinema: A Reader (London: Routledge and Kegan Paul [for] British Film Institute, 1980), BFI readers in film studies

Wood, Jason, Talking Movies: Contemporary World Filmmakers in Interview (London: Wallflower, 2006)

———, The Faber Book of Mexican Cinema (London: Faber, 2006)

Wood, Tony, ‘Strangely Hopeful Messages - Amores Perros’, TLS, the Times Literary Supplement, 5122 (2001) <https://link.gale.com/apps/doc/EX1200504353/TLSH?u=leicester&sid=bookmark-TLSH&xid=3e82d770>

Zavala Scherer, Diego, and Alivisi Hernández, ‘“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), Inter-American studies =

Bibliography for SP2035: Contemporary Mexican Cinema BETA