"Asistimos a la constitucionalización del Derecho en la totalidad de ramas del mismo. Así, somos testigos de excepción de nuevos vientos garantistas. Ello obedece basilarmente a los efectos del aterrizaje del Derecho Global, Neocostitucionalismo y Estado Constitucional de Derecho, en ese orden. En ese orden de inteligencia, es de apreciar que los diversos cursos de post grado, eventos académicos y la producción de los miembros de la academia, entienden el referido cambio y obran en consecuencia. Ergo a modo de ejemplo, resulta muy difícil advertir actualmente un evento académico que aborde una rama del Derecho, de manera alejada o extranjera al Derecho Constitucional y los Derechos Fundamentales, en razón a su cariz indesligable, transversal. Ello, sin dejar de apostrofar que el avance de la doctrina y sobre todo la aplicada, va siempre por delante del Derecho positivo. Y ello se puede corroborar que, por citar un caso, los magistrados aún no conectan el análisis y decisiones, de conformidad al nuevo Derecho constitucionalizado, pues, no pocos se encuentran extraviados en el extinto Estado de Derecho. Por ello, es que la presente obra que ponemos a consideración de la comunidad jurídica, sintoniza con el arribo del Estado Constitucional de Derecho, Pues, si bien es cierto que en la misma abordamos diversos trabajos de índole penal y procesal penal. A ello se le adiciona de modo inmejorable, el enfoque en sede constitucional, puesto que deviene en innegable su esplendor, desarrollo, transversalidad y protagonismo, abriéndose paso incontenible como saludable en el orbe jurígeno. Como corresponde implica a su vez, el incremento de protección y salvaguarda de los derechos fundamentales. Genera, además, el fortalecimiento de las diversas ramas del Derecho, por cuanto que se ven obligadas a pasar por su inevitable tamiz. Y potencia también, a los recientes como correspondientes escenarios para la presente empresa, como son: el derecho penal constitucional y derecho adjetivo penal constitucional. El contenido de esta obra sintoniza pues, con la constitucionalización de dichas ramas jurídicas. No obstante, el plus que registra la presente obra, aterriza también en el abordaje corroborable a través de sus capítulos constitutivos, de la revisión de la totalidad de fuentes del Derecho, derecho comparado y de naturaleza multidisciplinar (como la administración y filosofía). Lo que le otorga la calidad de sistémica intra y extra jurídica, abrazando así, una suerte de motivación o análisis estructural recargado, sólido, integral, completo. Así, la quintaesencia de las “Atingencias Constitucionales Contemporáneas”, comporta sobrada justificación y necesidad de lectura y debate, pues, el aporte de la experiencia y trayectoria de los mismos, confabula de manera sui generis y de singular sinergia y armonización, lo que redunda en un innegable valor agregado. Ello, en razón a su marcada insularidad, pues, no es nada común encontrar un libro que contenga dicha propuesta a nivel de derecho comparado. Y es de destacar, además, la muy marcada identificación con la justeza o legitimidad de su contenido que, dicho sea de paso, deviene más que nunca en ensordecedor como entendible clamor de los justiciables. Esto es, su particular propuesta se sitúa allende del Derecho Constitucional. Se amalgama así, la experiencia, evolución, críticas, reflexiones y sesudas proposiciones en diversas como disímiles temáticas, por parte de los coautores".

Like their Hollywood counterparts, Latin American film and TV melodramas have always been popular and highly profitable. The first of its kind, this anthology engages in a serious study of the aesthetics and cultural implications of Latin American melodramas. Written by some of the major figures in Latin American film scholarship, the studies range across seventy years of movies and television within a transnational context, focusing specifically on the period known as the "Golden Age" of melodrama, the impact of classic melodrama on later forms, and more contemporary forms of melodrama. An introductory essay examines current critical and theoretical debates on melodrama and places the essays within the context of Latin American film and media scholarship. Contributors are Luisela Alvaray, Mariana Baltar, Catherine L. Benamou, Marvin D’Lugo, Paula Félix-Didier, Andrés Levinson, Gilberto Perez, Darlene J. Sadlier, Cid Vasconcelos, and Ismail Xavier.

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

The role of mass communication in nation building has often been underestimated, particularly in the case of Mexico. Following the Revolution, the Mexican government used the new medium of radio to promote national identity and build support for the new regime. Joy Hayes now tells how an emerging country became a radio nation. This groundbreaking book investigates the intersection of radio broadcasting and nation building. Hayes tells how both government-controlled and private radio stations produced programs of distinctly Mexican folk and popular music as a means of drawing the country's regions together and countering the influence of U.S. broadcasts. Hayes describes how, both during and after the period of cultural revolution, Mexican radio broadcasting was shaped by the clash and collaboration of different social forces--including U.S. interests, Mexican media entrepreneurs, state institutions, and radio audiences. She traces the evolution of Mexican radio in case studies that focus on such subjects as early government broadcasting activities, the role of Mexico City media elites, the "paternal voice" of presidential addresses, and U.S. propaganda during World War II. More than narrative history, Hayes's study provides an analytical framework for understanding the role of radio in building Mexican nationalism at a critical time in that nation's history. Radio Nation expands our appreciation of an overlooked medium that changed the course of an entire country.

With essays by the most authoritative scholars, this unique study and reference work is the first English-language survey and analysis of Mexican cinema. The book provides extensive coverage of the delirious melodramas (of 'El Indio' Emilio Fernandez and Roberto Gavaldon, many shot by the supremely romantic cinematographer Gabriel Figueroa) and the contemporary successes of Jaime Humberto Hermosillo. It also includes the Mexican work of Luis Bunuel, the surreal, intense dramas of Felipe Cazals and Arturo Ripstein, the innovative work of Paul Leduc, and much more. This lavishly illustrated book also contains notes on over 150 individual films, an extensive dictionary of directors and other personalities, together with filmographies and an extensive chronicle of Mexico's political, cultural and cinematic history in the twentieth century.

After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema.