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The Sánchez Navarros
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Fragments of a Golden Age
DIVThe first cultural history of post-1940s Mexico to relate issues of representation and meaning to questions of power; it includes essays on popular music, unions, TV, tourism, cinema, wrestling, and illustrated magazines./div
The Mexican Filmography, 1916 through 2001
Mexican cinema has largely been overlooked by international film scholars because of a lack of English-language information and the fact that Spanish-language information was difficult to find and often out of date. This comprehensive filmography helps fill the need. Arranged by year of release and then by title, the filmography contains entries that include basic information (film and translated title, production company, genre, director, cast), a plot summary, and additional information about the film. Inclusion criteria: a film must be a Mexican production or co-production, feature length (one hour or more, silent films excepted), fictional (documentaries and compilation films are not included unless the topic relates to Mexican cinema; some docudramas and films with recreated or staged scenes are included), and theatrically released or intended for theatrical release.
A Mexican Family Empire
Perhaps no other institution has had a more significant impact on Latin American history than the large landed estate—the hacienda. In Mexico, the latifundio, an estate usually composed of two or more haciendas, dominated the social and economic structure of the country for four hundred years. A Mexican Family Empire is a careful examination of the largest latifundio ever to have existed, not only in Mexico but also in all of Latin America—the latifundio of the Sánchez Navarros. Located in the northern state of Coahuila, the Sánchez Navarro family's latifundio was composed of seventeen haciendas and covered more than 16.5 million acres—the size of West Virginia. Charles H. Harris pla...
Riesgo de inundaciones en el Mediterráneo occidental
Es conocido que las tierras del Mediterráneo occidental presentan uno de los grados de riesgo más elevado del conjunto de Europa. No lo es menos que la adaptación, por parte del hombre, a los peligros que históricamente encierra la naturaleza, que ha modelado paisajes y cultura en este ámbito. Ocupan un lugar destacado entre estos peligros las inundaciones. Al análisis -por parte de especialistas de diversas universidades de España y Francia- de este riesgo y sus consecuencias en las regiones mediterráneas se dedica la presente monografía. En ella historiadores y geógrafos analizan aspectos climáticos, hidrológicos, sociales, económicos y desvelan las medidas de reducción del riesgo de inundaciones que el hombre, en su secular lucha contra el medio, ha venido desarrollando hasta nuestros días. Las diferentes aportaciones ponen de manifiesto el aumento de la exposición al peligro de inundaciones que se ha experimentado en los últimos decenios en el Mediterráneo occidental, como prueba evidente de la progresiva e incomprensible ignorancia, cuando no pleno rechazo, de las enseñanzas del pasado.
Women Filmmakers in Mexico
Women filmmakers in Mexico were rare until the 1980s and 1990s, when women began to direct feature films in unprecedented numbers. Their films have won acclaim at home and abroad, and the filmmakers have become key figures in contemporary Mexican cinema. In this book, Elissa Rashkin documents how and why women filmmakers have achieved these successes, as she explores how the women's movement, film studies programs, governmental film policy, and the transformation of the intellectual sector since the 1960s have all affected women's filmmaking in Mexico. After a historical overview of Mexican women's filmmaking from the 1930s onward, Rashkin focuses on the work of five contemporary directors—Marisa Sistach, Busi Cortés, Guita Schyfter, María Novaro, and Dana Rotberg. Portraying the filmmakers as intellectuals participating in the public life of the nation, Rashkin examines how these directors have addressed questions of national identity through their films, replacing the patriarchal images and stereotypes of the classic Mexican cinema with feminist visions of a democratic and tolerant society.
The Role of Government in Water Markets
While water is an increasingly scarce resource, most existing methods to allocate it are neither economically nor environmentally efficient. In these circumstances, water markets offer developed countries a form of regulatory response capable of overcoming many of the shortcomings of current water management. The debate on water markets is, however, a polarized one. This is mostly a result of the misunderstanding of the roles played by governments in water markets. Proponents mistakenly portrayed them as leaving governments, for the most part, out of the picture. Opponents, in turn, understand commodification of water and administration by public agencies as incompatible. Casado Pérez argue...
