The southern frontier is one of the most emotionally charged zones in the United States, second only to its historical predecessor and partner, the western frontier. Though they span many genres, border films share common themes, trace the mood swings of public policy, and shape our cultural agenda. In this examination, Camilla Fojas studies how major Hollywood films exploit the border between Mexico and the United States to tell a story about U.S. dominance in the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier by offering in-depth analyses of particular border films, from post-World War II Westerns to drug-trafficking films to contemporary Latino/a cinema, within their historical and political contexts. Fojas argues that Hollywood border films do important social work by offering a cinematic space through which viewers can manage traumatic and undesirable histories and ultimately reaffirm core "American" values. At the same time, these border narratives delineate opposing values and ideas. Latino border films offer a critical vantage onto these topics; they challenge the presumptions of U.S. nationalism and subsequent cultural attitudes about immigrants and immigration, and often critically reconstruct their Hollywood kin. By analyzing films such as Duel in the Sun, The Wild Bunch, El Norte, The Border, Traffic, and Brokeback Mountain, Fojas demands that we reexamine the powerful mythology of the Hollywood borderlands. This detailed scrutiny recognizes that these films are part of a national narrative comprised of many texts and symbols that create the myth of the United States as capital of the Americas.

Winner of the 2014 Albert Corey Prize from the American Historical Association Winner of the 2013 Hal Rothman Award from the Western History Association Winner of the 2013 John Lyman Book Award in the Naval and Maritime Science and Technology category from the North American Society for Oceanic History For centuries, borders have been central to salmon management customs on the Salish Sea, but how those borders were drawn has had very different effects on the Northwest salmon fishery. Native peoples who fished the Salish Sea--which includes Puget Sound in Washington State, the Strait of Georgia in British Columbia, and the Strait of Juan de Fuca--drew social and cultural borders around salmon fishing locations and found ways to administer the resource in a sustainable way. Nineteenth-century Euro-Americans, who drew the Anglo-American border along the forty-ninth parallel, took a very different approach and ignored the salmon's patterns and life cycle. As the canned salmon industry grew and more people moved into the region, class and ethnic relations changed. Soon illegal fishing, broken contracts, and fish piracy were endemic--conditions that contributed to rampant overfishing, social tensions, and international mistrust. The Nature of Borders is about the ecological effects of imposing cultural and political borders on this critical West Coast salmon fishery. This transnational history provides an understanding of the modern Pacific salmon crisis and is particularly instructive as salmon conservation practices increasingly approximate those of the pre-contact Native past. The Nature of Borders reorients borderlands studies toward the Canada-U.S. border and also provides a new view of how borders influenced fishing practices and related management efforts over time. Watch the book trailer: http://www.youtube.com/watch?v=7ffLPgtCYHA&feature=channel_video_title

The Southwestern border is one of the most fascinating places in America, a region of rugged beauty and small communities that coexist across the international line. In the past decade, the area has also become deadly as illegal immigration has shifted into some of the harshest territory on the continent, reshaping life on both sides of the border. In Hard Line, Ken Ellingwood, a correspondent for the Los Angeles Times, captures the heart of this complex and fascinating land, through the dramatic stories of undocumented immigrants and the border agents who track them through the desert, Native Americans divided between two countries, human rights workers aiding the migrants and ranchers taking the law into their own hands. This is a vivid portrait of a place and its people, and a moving story of the West that has major implications for the nation as a whole.

Border Bandits is an account of the many, many stories of back and forth skirmishes between the Mexicans and Texans during the late 1800s and early 1900s. There practically wasn't a border, which caused a lot of problems and thievery between the two countries. These seventeen tales in this book re-create border raids that originated from both sides of the fluid and much contested line and tells the stories of colorful characters – Mexican and American – that have since secured their place in history.

In the early twentieth century, social banditry was endemic in the countryside near the border between the northern Malaysian state of Kedah and Siam, and some outlaws became local heroes. Cheah Boon Kheng's account of peasant banditry and the society where it flourished draws on colonial records, literary sources and interviews to examine the circumstances that led the Governor, Sir Laurence Guillemard, to call the border area "one of the most lawless and insecure districts" in British Malaya during the 1920s. Considering banditry from the perspective of the peasant community, Cheah concludes that it grew out of lax government, weak policing, the geography of the border region and underdevelopment, and suggests that bandit heroes might be seen as symbols of rural protest. His discussion of the details of rural life in the early twentieth century and the conditions that underlay rural crime provide a unique social history of rural society in Malaya. This innovative volume broke new ground in Malaysian studies when it first appeared in 1988. This second edition is intended for the work to reach a new audience.

In The Borders of Dominicanidad Lorgia García-Peña explores the ways official narratives and histories have been projected onto racialized Dominican bodies as a means of sustaining the nation's borders. García-Peña constructs a genealogy of dominicanidad that highlights how Afro-Dominicans, ethnic Haitians, and Dominicans living abroad have contested these dominant narratives and their violent, silencing, and exclusionary effects. Centering the role of U.S. imperialism in drawing racial borders between Haiti, the Dominican Republic, and the United States, she analyzes musical, visual, artistic, and literary representations of foundational moments in the history of the Dominican Republic: the murder of three girls and their father in 1822; the criminalization of Afro-religious practice during the U.S. occupation between 1916 and 1924; the massacre of more than 20,000 people on the Dominican-Haitian border in 1937; and the 2010 earthquake in Haiti. García-Peña also considers the contemporary emergence of a broader Dominican consciousness among artists and intellectuals that offers alternative perspectives to questions of identity as well as the means to make audible the voices of long-silenced Dominicans.