Abrams, Nathan and Udris, Jan, Studying Film, vol Studying the media (2nd ed, Hodder Education 2010)
Acevedo-Muñoz E, ‘'Sex, Class, and Mexico in Alfonso Cuarón’s Y Tu Mamá También’’ (2004) 34 Film and History <http://muse.jhu.edu/journals/film_and_history/toc/flm34.1.html>
——, ‘‘Bridges Between the Divide: The Female Body in Y Tu Mamá También and Machuca’’ (2007) 4 Studies in Hispanic Cinemas
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’ (2010) 125 MLN 433
Aitken, Ian, European Film Theory and Cinema: A Critical Introduction (Edinburgh University Press 2001)
Amaya H, ‘“Amores Perros and Racialised Masculinities in Contemporary Mexico”’ (2007) 5 New Cinemas: Journal of Contemporary Film
Andrew Sarris, ‘Film: The Illusion of Naturalism’ (1968) 13 The Drama Review: TDR 108 <http://www.jstor.org.ezproxy3.lib.le.ac.uk/stable/1144414?seq=1>
Archibald D, The War That Won’t Die (Manchester University Press 2014)
Arriaga Jordán, Guillermo, Amores Perros (Faber and Faber 2001)
Aufderheide P, ‘“Y Tu Mamá También”’ (2001) 27 Cineaste
Ayala Blanco, Jorge, La Fugacidad Del Cine Mexicano, vol Tiempo de Mexico (Oceano 2001)
Baer H and Long RF, ‘Transnational Cinema and the Mexican State in Alfonso Cuarón’s Y Tu Mamá También’ (2004) 21 South Central Review <http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40039895>
Basoli AG, ‘“Sexual Awakenings and Stark Realities: An Interview with Alfonso Cuarón”’ (2002) 27 Cineaste
Beckman, Karen Redrobe, Crash: Cinema and the Politics of Speed and Stasis (Duke University Press 2010)
Bordwell, David, On the History of Film Style (Harvard University Press 1997)
Bordwell, David and Thompson, Kristin, Film Art: An Introduction (11th edition, 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 University Press 2008)
Brinks E, ‘“Nobody’s Children’: Gothic Representation and Traumatic History in The Devil’s Backbone”’ (2004) 24 JAC <http://ezproxy.lib.le.ac.uk/login?url=http://www.jstor.org/stable/20866627>
Buckland, Warren, Film Studies (Hodder & Stoughton 1998)
Cameron, Allan, Modular Narratives in Contemporary Cinema (Palgrave Macmillan 2008) <http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/book/10.1057/9780230594197>
Chavez D, ‘“The Eagle and the Serpent on the Screen: The State as Spectacle in Mexican Cinema”’ (2010) 45 Latin American Research Review <http://ezproxy.lib.le.ac.uk/login?url=https://www.jstor.org/stable/40926272>
Chun K and del Toro G, ‘“What Is a Ghost? An Interview with Guillermo Del Toro”.’ (2002) 27 Cineaste <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, vol The short guide series (8th ed, Pearson 2012)
Cuarón, Alfonso, Y Tu Mamá También =: And Your Mother Too (Screenpress Books 2003)
——, ‘Y Tu Mamá También =: And Your Mother Too’ <https://learningonscreen.ac.uk/ondemand/index.php/prog/0054DD25?bcast=36578511>
Cuarón, Carlos and Cuarón, Alfonso, Y Tú Mamá También: Guión y Argumento Cinematográfico (Trilce 2001)
Davies A, ‘The Beautiful and the Monstrous Masculine: The Male Body and Horror in (Guillermo Del Toro 2001)’ (2007) 3 Studies in Hispanic Cinemas 135
——, Spanish Spaces: Landscape, Space and Place in Contemporary Spanish Culture, vol Contemporary Hispanic and Lusophone cultures (Liverpool University Press 2012) <http://ezproxy.lib.le.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=437438>
Díaz López M, ‘‘¿Dónde Están Los Hombres? Crisis de La Masculinidad Mexicana En Y Tu Mama También’’ in Susanna Igler and Thomas Stauder (eds), Negociando identidades, traspasando fronteras : tendencias en la literatura y el cine Mexicanos en torno al nuevo milenio (Iberoamericana/Vervuert 2008)
Díaz R, ‘“El Viaje Como Desintegración y Fundación Ideológica En Y Tu Mamá También y Diarios de Motocicleta”’ (2005) 13 Ciberletras <http://www.lehman.edu/faculty/guinazu/ciberletras/v13/diaz.htm>
Elena, Alberto and Díaz López, Marina, The Cinema of Latin America, vol 24 Frames (Wallflower 2003)
——, The Cinema of Latin America, vol 24 Frames (Wallflower 2003)
Escalante, Amat, Rodríguez, Jesús Moisés, and Sosa, Rubén, ‘Los Bastardos’
Fernández AA, ‘“El Road Movie En México: Hacia El Cronotopo Del Viaje”’ in Graciela Martínez-Zalce and Wilfried 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 2012)
Finnegan N, ‘‘So What’s Mexico Really Like?: Framing the Local, Negotiating the Global in Alfonso Cuarón’s Y Tu Mama También’’ in Deborah Shaw (ed), Contemporary Latin American Cinema: Breaking the Global Market (Rowman & Littlefield 2007)
Foster, David William, Mexico City in Contemporary Mexican Cinema (University of Texas Press 2002)
Furst, Lilian R and Skrine, Peter N, Naturalism, vol The critical idiom (Methuen 1971)
Gibbs J, ‘“Road Movies Mapping the Nation: Y Tu Mamá También”’ (2005) 4 eSharp: Electronic Social Sciences, Humanities, and Arts Review for Postgraduates <http://www.gla.ac.uk/media/media_41153_en.pdf>
González Iñárritu, Alejandro and others, ‘Amores Perros =: Love’s a Bitch’ <https://learningonscreen.ac.uk/ondemand/index.php/prog/001B5743?bcast=3015402>
Gregori E, ‘“Geografías Urbanas: La Representación de La Ciudad de México En El Sitio y Amores Perros”’ (2006) 33 Espéculo: Revista de Estudios Literarios <http://dialnet.unirioja.es/servlet/articulo?codigo=2199005>
Grochowski A and Ibarra Zetter K, ‘“¡No Manches, Güey! Humor in Mexican Film”’, Lenguaje, arte y revoluciones ayer y hoy: new approaches to Hispanic linguistic, literary and cultural studies (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 (Edwin Mellen Press 2007)
Hardcastle AE, ‘“Ghost of the Past and Present: Hauntology and the Spanish Civil War in Guillermo Del Toro’s The Devil’s Backbone”’ 15 Journal of the Fantastic in the Arts
Hart, Stephen M., A Companion to Latin American Film, vol Colección Támesis. Serie A, Monografías (Tamesis 2004) <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507>
——, A Companion to Latin American Film, vol Colección Támesis. Serie A, Monografías (Tamesis 2004) <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3003507>
Hayward, Susan, Cinema Studies: The Key Concepts, vol Routledge key guides (3rd ed, Routledge 2006) <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=268612>
Hind E, ‘“Post-NAFTA Mexican Cinema, 1998-2002”’ (2004) 23 Studies in Latin American Popular Culture
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>’ (2012) 12 Journal of Romance Studies 56
Kendrick, James, Film Violence: History, Ideology, Genre, vol Short cuts (Wallflower 2009)
King, John, Magical Reels: A History of Cinema in Latin America, vol Critical studies in Latin American and Iberian cultures (New ed, Verso 2000)
——, Mediating Two Worlds: Cinematic Encounters in the Americas (BFI 1993)
Klecker, Cornelia, ‘Chronology, Causality ... Confusion: When Avant-Garde Goes Classic.’ (2011) 63 Journal of Film & Video 11 <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 (University of Texas Press 2002) <https://ebookcentral.proquest.com/lib/leicester/detail.action?docID=3443131>
Lawrenson E and Pérez Soler B, ‘“Pup Fiction: An Interview with Alejandro González Iñárritu”’ (2001) 11 Sight and Sound
Lázaro-Reboll A, ‘The Transnational Reception of <I>El Espinazo Del Diablo</I> (Guillermo Del Toro 2001)’ (2007) 8 Hispanic Research Journal 39
Lázaro-Reboll, Antonio and Willis, Andrew, Spanish Popular Cinema, vol Inside popular film (Manchester University Press 2004)
Lie N, Ku L and Mandolessi S, ‘Violencia y Transnacionalidad En El Cine Latinoamericano Contemporáneo, Sobre Carancho (P. Trapero, 2010) y Los Bastardos (A. Escalante, 2008)’ (2012) 35 Secuencias (Madrid, Spain : 1994) 103 <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 (Praeger 2005)
Lowenstein, Adam, Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film, vol Film and culture (Columbia University Press 2005)
Ma N, ‘“Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores Perros”’ in Catherine Grant and Annette Kuhn (eds), Screening world cinema (Routledge 2006)
Maciel, David and Hershfield, Joanne, Mexico’s Cinema: A Century of Film and Filmmakers, vol Latin American silhouettes (Scholarly Resources 1999)
Maciel, David and San Diego State University, 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 1990)
McDonald K and Clark R, Guillermo Del Toro: Film as Alchemic Art (Bloomsbury 2014)
Medrano Platas, Alejandro, Quince Directores Del Cine Mexicano: Entrevistas (Plaza y Valdés 1999)
Menne J, ‘“A Mexican Nouvelle Vague: The Logic of New Waves under Globalization”’ 47 Cinema Journal <http://muse.jhu.edu/journals/cinema_journal/v047/47.1menne.html>
Menne Jeff, ‘A Mexican Nouvelle Vague : The Logic of New Waves under Globalization’ (2007) 47 Cinema Journal 70
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 University Press 2009)
Mora, Carl J., Mexican Cinema: Reflections of a Society, 1896-2004 (3rd ed, McFarland & Company Inc 2005)
Noble, Andrea, Mexican National Cinema, vol National cinemas series (Routledge 2005)
Oropesa SA, ‘Proxemics , Homogenization and Diversity in Mexico’s Road Movies: Por La Libre (2000), Sin Dejarhuella (2000), and Y Tu Mamá También (2001)’ (2008) 3 Hispanic Issues On Line <http://hispanicissues.umn.edu/assets/pdf/Oropesa.pdf>
Paranaguá, Paulo Antonio and others, Mexican Cinema (British Film Institute 1995)
Pastor BM, ‘“La Bella y La Bestia En El Cine de Guillermo Del Toro: El Espinazo Del Diablo y El Laberinto Del Fauno”’ (2011) 187 ARBOR: Ciencia, Pensamiento y Cultura <http://arbor.revistas.csic.es/index.php/arbor/article/view/1310/1319>
Piersecă M, ‘“Gender, Corporeality and Space in Alejandro González Iñárritu’s Amores Perros”’ 1 Journal for Communication and Culture <http://jcc.icc.org.ro/wp-content/uploads/2011/11/JCC-vol-1-no-2-2011-pages-111-127.pdf>
Podalsky L, ‘“Affecting Legacies: Historical Memory and Contemporary Structures of Feeling in Madagascar and Amores Perros”’ (2003) 44 Screen
Prawer, Siegbert Salomon, Caligari’s Children: The Film as Tale of Terror (Da Capo Press 1988)
Prince, Stephen, Screening Violence, vol Rutgers depth of field series (Rutgers University Press 2000)
Rawnsley MYT, ‘“Realism and National Identity in Y Tu Mama También: An Audience Perspective”’ in Lucia Nagib (ed), Realism and the Audiovisual Media (Palgrave 2009) <http://ezproxy.lib.le.ac.uk/login?url=https://link.springer.com/chapter/10.1057/9780230246973_8>
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>’ (2009) 10 Hispanic Research Journal 457
——, ‘“‘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.”’ 10 Hispanic Research Journal
Romney J, ‘“Enigma Variations”’ (2004) 14 Sight and Sound
Sabbadini A, ‘Film Review Essay: “Not Something Destroyed but Something That Is Alive”: Amores Perros at the Intersection of Rescue Fantasies’ (2003) 84 The International Journal of Psychoanalysis
Saldana-Portillo MJ, ‘In the Shadow of NAFTA: Y Tu Mama Tambien Revisits the National Allegory of Mexican Sovereignty’ (2005) 57 American Quarterly 751
Sánchez Prado IM, ‘“Amores Perros: Exotic Violence and Neoliberal Fear”’ (2006) 15 Journal of Latin American Cultural Studies
Savage J, ‘The Object(s) of Interpretation: Guillermo Del Toro’s El Espinazo Del Diablo (The Devil’s Backbone)’ 12 Senses of Cinema:: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema <http://sensesofcinema.com/2002/feature-articles/devil_backbone/>
Schaefer, Claudia, 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 2003)
Schulz Cruz, Bernard, The Evolution of Gay Imagery in Mexican Cinema: An Analysis of Thirty-Six Films, 1970-1999 (Edwin Mellen 2010)
Serna JA, ‘“El Discurso de La Subcultura Transgresora En El Film Mexicano Amores Perros”’ (2002) 7 Ciberletras: Revista de Crítica Literaria y de Cultura/Journal of Literary Critisim and Culture <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”’ (2004) 11 Ciberletras <http://www.lehman.cuny.edu/ciberletras/v11/serna.html>
Shaw D, 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 2013)
——, 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 2013)
——, 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 2013)
Shaw, Deborah, Contemporary Cinema of Latin America: Ten Key Films (Continuum 2003)
Smith B, ‘“Re-Narrating Globalization: Hybridity and Resistance in Amores Perros, Santitos and El Jardín de Edén”’ (2010) 2 Rupkatha: Journal on Interdisciplinary Studies in Humanities <http://rupkatha.com/V2/n3/RenarratingGlobalization.pdf>
Smith, Paul Julian, ‘“Ghost of the Civil Dead”’ (2001) 11 Sight & Sound 38 <http://search.ebscohost.com.ezproxy3.lib.le.ac.uk/login.aspx?direct=true&db=aft&AN=504988620&site=ehost-live>
——, Amores Perros, vol British Film Institute (British Film Institute 2003)
Solórzano-Thompson N, ‘“Where Have All the Men Gone? Mexican Foundational Myths and Negative Masculinities in Alejandro González Iñárritu’s Amores Perros”’ (2010) 3 Hispanet Journal <http://www.hispanetjournal.com/WhereHave.pdf>
Stanley MT, ‘“El Cuerpo Femenino Como Emblema Nacional En Los Filmes Ay, Carmela! Y El Espinazo Del Diablo”’ (2006) 3 Letras Hispanas: Revista de Literatura y Cultura <https://www.worldlang.txst.edu/letrashispanas/previousvolumes/vol3-1.html>
Thomas S, ‘“Ghostly Affinities: Child Subjectivity and Spectral Presences in El Espíritu de La Colmena and El Espinazo Del Diablo”’ (2011) 4 Hispanet Journal <http://www.hispanetjournal.com/Volume4.htm>
Thornton N, ‘“Finding a Place in a Megalopolis: Mexico City in Amores Perros”’ in Olaf Kaltmeier (ed), EthniCities: Metropolitan Cultures and Ethnic Identities in the Americas (Wissenschaftlicher Verlag Trier 2011)
Toro, Guillermo Del and others, ‘El Espinazo Del Diablo =: The Devil’s Backbone’ <https://learningonscreen.ac.uk/ondemand/index.php/prog/001A5950?bcast=114425529>
Wendorff L and Morley TJ, ‘“Amores Perros: A Tragic Weltanschauung”’ (2004) 1 Film Journal
Williams, Christopher, Realism and the Cinema: A Reader, vol BFI readers in film studies (Routledge and Kegan Paul [for] British Film Institute 1980)
Wood, Jason, Talking Movies: Contemporary World Filmmakers in Interview (Wallflower 2006)
——, The Faber Book of Mexican Cinema (Faber 2006)
Wood T, ‘Strangely Hopeful Messages - Amores Perros’ (2001) 5122 TLS, the Times Literary Supplement <https://link.gale.com/apps/doc/EX1200504353/TLSH?u=leicester&sid=bookmark-TLSH&xid=3e82d770>
Zavala Scherer D and 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”’, (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 2012)
