LEADER 03822nam 22005894a 450 001 9910826814203321 005 20200520144314.0 010 $a0-292-79408-8 024 7 $a10.7560/718623 035 $a(CKB)1000000000720627 035 $a(OCoLC)309904413 035 $a(CaPaEBR)ebrary10273748 035 $a(SSID)ssj0000113908 035 $a(PQKBManifestationID)11143146 035 $a(PQKBTitleCode)TC0000113908 035 $a(PQKBWorkID)10101005 035 $a(PQKB)10080290 035 $a(MiAaPQ)EBC3443373 035 $a(MdBmJHUP)muse2351 035 $a(Au-PeEL)EBL3443373 035 $a(CaPaEBR)ebr10273748 035 $a(DE-B1597)587036 035 $a(OCoLC)1280944634 035 $a(DE-B1597)9780292794085 035 $a(EXLCZ)991000000000720627 100 $a20080110d2008 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBorder bandits $eHollywood on the southern frontier /$fCamilla Fojas 205 $a1st ed. 210 $aAustin, Tex. $cUniversity of Texas Press$d2008 215 $a1 online resource (250 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-292-71862-4 320 $aIncludes bibliographical references (p. 197-225) and index. 327 $aWelcome to the alamo : Hollywood on the border -- How the Southwest was won : border westerns and the southern frontier -- "The imaginary illegal alien" : Hollywood border crossers and buddy cops in the 1980s -- The "narc" in all of us : border media and the War on drugs -- Urban frontiers : border cinema and the global city -- Frontier myths on the line : border cinema redux. 330 $aThe 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. 606 $aMotion pictures$zUnited States 607 $aMexican-American Border Region$xIn motion pictures 615 0$aMotion pictures 676 $a791.43/658721 700 $aFojas$b Camilla$f1971-$01600733 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826814203321 996 $aBorder bandits$93945095 997 $aUNINA