The author's main reason for writing this book, however, is simply to provide an introduction to the Mexican commercial cinema for American and other English-speaking readers. Although the United States has been, and continues to be, a major foreign market for Mexican movies, the overwhelming majority of Americans are unaware of them. Mexican films are restricted to the Hispanic theater circuits and shown without English subtitles; therefore anyone wishing to see a Mexican movie would have to be fairly fluent in Spanish. Such a requisite effectively eliminates almost the entire general audience in the United States from exposure to Mexican cinema.

Palace intrigues and clientelism drove politics at the viceregal court of colonial Mexico. By carefully reconstructing social networks in the court of Viceroy Duke of Alburquerque (1702-1710), Christoph Rosenm ller reveals that the Duke presided over one of the most corrupt viceregal terms in Mexican history. Alburquerque was appointed by Spain's King Philip V at a time when expanding state power was beginning to meet with opposition in colonial Mexico. The Duke and his retainers, though seemingly working for the crown, actually built close alliances with locals to thwart the reform efforts emanating from Spain. Alburquerque collaborated with contraband traders and opposed the secularization of Indian parishes. He persecuted several local craftsmen and merchants, some of whom died after languishing in jail, accusing them of treason to bolster his own credentials as a loyal official. In the end, however, the dominant clique at the royal court in Madrid sought revenge. Alburquerque was forced to pay an unheard-of indemnity of 700,000 silver pesos to regain the king's favour. Dealing with a topic and period largely ignored by historiography, Rosenm ller exposes the vast patronage power of the viceroy at the historical watershed between the expiring Habsburg dynasty and the incoming Bourbon rulers. His analysis reveals that precursors of the Bourbon reforms and the struggle for Mexican independence were already at play in the early eighteenth century.

Monografie over leven en werk van de Mexicaanse prentkunstenaar (1902-1969), met de nadruk op de jaren dertig en veertig waarin hij politiek zeer actief was. Ook de invloeden van en naar andere kunstenaars uit zijn tijd komen aan bod.

This expanded new edition of the classic 1989 collection of essays about Aztlán weighs its value.

This handsomely illustrated book offers a panoramic view of ancient Mexico, beginning more than thirty thousand years ago and ending with European occupation in the sixteenth century. Drawing on archaeological and ethnohistorical sources, the book is one of the first to offer a unified vision of Mexico's precolonial past. Typical histories of Mexico focus on the prosperity and accomplishments of Mesoamerica, located in the southern half of Mexico, due to the wealth of records about the glorious past of this region. Mesoamerica was only one of three cultural superareas of ancient Mexico, however, all interlinked by complex economic and social relationships. Tracing the large social transformations that took place from the earliest hunter-gatherer times to the Postclassic states, the authors describe the ties between the three superareas of ancient Mexico, which stretched from present-day Costa Rica to what is now the southwestern United States. According to the authors, these superareas–Mesoamerica, Aridamerica, and Oasisamerica–cannot be viewed as independent entities. Instead, they must be considered as a whole to understand the complex reality of Mexico's past and possible visions of Mexico's future.

In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city's downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood's "Cine Hispano." The papers presented in this two-day symposium are collected and revised here. This is a joint publication of FIAF and UCLA Film & Television Archive.

Historians have paid scant attention to the five years that span from the conclusion early in 1848 of Mexico’s disastrous conflict with the United States to the final return to power in April 1853 of General Antonio López de Santa Anna. This volume presents a more thorough understanding of this pivotal time, and the issues and experiences that then affected Mexicans. It sheds light on how elite politics, church-state relations, institutional affairs, and peasant revolts played a crucial role in Mexico’s long-term historical development, and also explores topics like marriage and everyday life, and the public trials and executions staged in the aftermath of the war with the U.S.