Bibliography for SP2035: Contemporary Mexican Cinema

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

Acevedo-Muñoz, Ernesto. ‘‘Bridges Between the Divide: The Female Body in Y Tu Mamá También and Machuca’’. Studies in Hispanic Cinemas 4.1 (2007): n. pag. Web.

---. ‘'Sex, Class, and Mexico in Alfonso Cuarón’s Y Tu Mamá También’’. Film and History 34.1 (2004): n. pag. Web. <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): 433–456. Web.

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

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

Andrew Sarris. ‘Film: The Illusion of Naturalism’. The Drama Review: TDR 13.2 (1968): 108–112. Web. <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. Print.

Arriaga Jordán, Guillermo. Amores Perros. London: Faber and Faber, 2001. Print.

Aufderheide, P. ‘“Y Tu Mamá También”’. Cineaste 27.1 (2001): n. pag. Print.

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

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): n. pag. Web. <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): n. pag. Print.

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

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

Bordwell, David and Thompson, Kristin. Film Art: An Introduction. 11th edition. New York, N.Y.: McGraw-Hill, 2013. Web. <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. Print.

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

Buckland, Warren. Film Studies. London: Hodder & Stoughton, 1998. Print.

Cameron, Allan. Modular Narratives in Contemporary Cinema. Basingstoke: Palgrave Macmillan, 2008. Web. <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): n. pag. Web. <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): n. pag. Web. <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. The short guide series. Boston, Mass: Pearson, 2012. Print.

Cuarón, Alfonso et al. ‘Y Tu Mamá También =: And Your Mother Too’. 2007. Web. <https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511>.

---. Y Tu Mamá También =: And Your Mother Too. Southwold: Screenpress Books, 2003. Print.

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

Davies, Ann. Spanish Spaces: Landscape, Space and Place in Contemporary Spanish Culture. Contemporary Hispanic and Lusophone cultures. Liverpool: Liverpool University Press, 2012. Web. <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): 135–147. Web.

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

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

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

---. The Cinema of Latin America. 24 Frames. London: Wallflower, 2003. Print.

Escalante, Amat, Rodríguez, Jesús Moisés, and Sosa, Rubén. ‘Los Bastardos’. 2012 : n. pag. Print.

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

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

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

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

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

González Iñárritu, Alejandro et al. ‘Amores Perros =: Love’s a Bitch’. 2001. Web. <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): n. pag. Web. <http://dialnet.unirioja.es/servlet/articulo?codigo=2199005>.

Grochowski, Alison, and Karol Ibarra Zetter. ‘“¡No Manches, Güey! Humor in Mexican Film”’. Lenguaje, Arte y Revoluciones Ayer y Hoy: New Approaches to Hispanic Linguistic, Literary and Cultural Studies. Newcastle: Cambridge Scholars, 2011. Web. <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. Print.

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 n. pag. Print.

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

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

Hayward, Susan. Cinema Studies: The Key Concepts. 3rd ed. Routledge key guides. London: Routledge, 2006. Web. <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): n. pag. Print.

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. Print.

Kendrick, James. Film Violence: History, Ideology, Genre. Short cuts. London: Wallflower, 2009. Print.

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

---. Mediating Two Worlds: Cinematic Encounters in the Americas. London: BFI, 1993. Print.

Klecker, Cornelia. ‘Chronology, Causality ... Confusion: When Avant-Garde Goes Classic.’ Journal of Film & Video 63.2 (2011): 11–27. Web. <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. Web. <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): n. pag. Print.

Lázaro-Reboll, Antonio. ‘The Transnational Reception of El Espinazo Del Diablo (Guillermo Del Toro 2001)’. Hispanic Research Journal 8.1 (2007): 39–51. Web.

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

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): 103–119. Web. <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. Print.

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

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

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

Maciel, David and San Diego State University. El Norte: The U.S.-Mexican Border in Contemporary Cinema. Border studies series. San Diego, Calif: Institute for Regional Studies of the Californias, San Diego State University, 1990. Print.

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

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

Menne, Jeff. ‘“A Mexican Nouvelle Vague: The Logic of New Waves under Globalization”’. Cinema Journal 47.1 n. pag. Web. <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. Web.

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. Print.

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

Noble, Andrea. Mexican National Cinema. National cinemas series. London: Routledge, 2005. Print.

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): n. pag. Web. <http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf>.

Paranaguá, Paulo Antonio et al. Mexican Cinema. London: British Film Institute, 1995. Print.

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): n. pag. Web. <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 n. pag. Web. <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): n. pag. Web.

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

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

Rawnsley, M.Y.T. ‘“Realism and National Identity in Y Tu Mama También: An Audience Perspective”’. Realism and the Audiovisual Media. Ed. Lucia Nagib. Basingstoke: Palgrave, 2009. Web. <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): 457–481. Web.

---. ‘“‘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 n. pag. Print.

Romney, Jonathan. ‘“Enigma Variations”’. Sight and Sound 14.3 (2004): n. pag. Print.

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): n. pag. Web.

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): 751–777. Web.

Sánchez Prado, Ignacio M. ‘“Amores Perros: Exotic Violence and Neoliberal Fear”’. Journal of Latin American Cultural Studies 15.1 (2006): n. pag. Web.

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 n. pag. Web. <http://sensesofcinema.com/2002/feature-articles/devil_backbone/>.

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

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. Print.

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): n. pag. Web. <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): n. pag. Web. <http://www.lehman.cuny.edu/ciberletras/v11/serna.html>.

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

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

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

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

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): n. pag. Web. <http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf>.

Smith, Paul Julian. Amores Perros. British Film Institute. London: British Film Institute, 2003. Print.

---. ‘“Ghost of the Civil Dead”’. Sight & Sound 11.12 (2001): 38–46. Web. <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): n. pag. Web. <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): n. pag. Web. <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): n. pag. Web. <http://www.hispanetjournal.com/Volume4.htm>.

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

Toro, Guillermo Del et al. ‘El Espinazo Del Diablo =: The Devil’s Backbone’. 2002. Web. <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): n. pag. Print.

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

Wood, Jason. Talking Movies: Contemporary World Filmmakers in Interview. London: Wallflower, 2006. Print.

---. The Faber Book of Mexican Cinema. London: Faber, 2006. Print.

Wood, Tony. ‘Strangely Hopeful Messages - Amores Perros’. TLS, the Times Literary Supplement 5122 (2001): n. pag. Web. <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”’. (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. Inter-American studies =. Trier, Germany: Wissenchaftlicher Verlag Trier, 2012. Print.

Bibliography for SP2035: Contemporary Mexican Cinema BETA