Relevant bibliographies by topics / Mexican film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Mexican film'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Mexican film"

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Arredondo, Isabel. ""Teníía brííos y, aúún vieja, los sigo teniendo": entrevista a Matilde Landeta." Mexican Studies/Estudios Mexicanos 18, no. 1 (2002): 189–204. http://dx.doi.org/10.1525/msem.2002.18.1.189.

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The interview with filmmaker Matilde Landeta (1910––1999) shows that moving up within the film union was conditioned by gender, and that such advancement was contingent upon the alliance or competition between the Mexican and North-American film industries. The interview also shows that in her films Landeta interpreted the Mexican meta-narratives, such as the Conquest, the Mexican Revolution and the Life of the Modern City, from a feminine point of view. Thus both Landeta's career and her filmic perspectives reflected her gendered position in the industry. La entrevista con la cineasta mexicana Matilde Landeta (1910-1999) muestra que, durante los añños cuarenta en Mééxico, el ser hombre o mujer afectaba la políítica de ascenso dentro del sindicato de cine y que dicha políítica dependíía, a su vez, de la alianza o competencia entre las industrias de cine mexicana y norteamericana. La entrevista tambiéén prueba que, en sus pelíículas, Landeta interpretóó las metanarrativas mexicanas de la Conquista, la Revolucióón mexicana y la vida urbana moderna desde una perspectiva femenina. Por consiguiente, tanto su carrera como sus perspectivas fíílmicas revelan su posicióón de mujer dentro de la industria.
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Alfaro-Velcamp, Theresa. "“Reelizing” Arab and Jewish Ethnicity in Mexican Film." Americas 63, no. 2 (October 2006): 261–80. http://dx.doi.org/10.1017/s0003161500063008.

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As a historian of Mexican history who studies Middle Eastern immigrants to Mexico in the late nineteenth and twentieth centuries, I have approached the topic of ethnic film with both trepidation and great interest. Attuned to the historiography of what and who is Mexican, I view the filmsEl baisano JalilandNovia que te veafor their representations of ethnic difference and suggestions of a multicultural Mexico. Here, I wish to explore how these films not only show the presence of immigrant groups in the cultural fabric of Mexico, but also how the films demonstrate that public discourses (via film) can enhance scholarly understanding of multiculturalism. My purpose is to make a discrete intervention in Mexican historiography by underscoring the importance of film in conceptualizing the dimensions of ethnic identity. I suggest that these films are rooted in a particular Mexican social context in which both Arab and Jewish immigrants have been able to manipulate the ambiguities of what it means to be Mexican.
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Nahmad Rodríguez, Ana Daniela. "Mexicans in Nicaragua: Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM)." Studies in Spanish & Latin-American Cinemas 17, no. 2 (June 1, 2020): 233–51. http://dx.doi.org/10.1386/slac_00020_1.

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Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC) of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).
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Aguilar-Sánchez, Rocio, Ricardo Munguía-Pérez, Fatima Reyes-Jurado, Addí Rhode Navarro-Cruz, Teresa Soledad Cid-Pérez, Paola Hernández-Carranza, Silvia del Carmen Beristain-Bauza, Carlos Enrique Ochoa-Velasco, and Raúl Avila-Sosa. "Structural, Physical, and Antifungal Characterization of Starch Edible Films Added with Nanocomposites and Mexican Oregano (Lippia berlandieri Schauer) Essential Oil." Molecules 24, no. 12 (June 25, 2019): 2340. http://dx.doi.org/10.3390/molecules24122340.

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The aim of this study was to evaluate the structural, physical, and antifungal characteristics of starch edible films added with nanocomposites and Mexican oregano (Lippia berlandieri Schauer) essential oil (EO). Starch edible films were formulated with Mexican oregano EO (0%, 1%, or 2% v/v) and bentonite or halloysite (2%). Physical properties such as L* (luminosity), hue, film thickness, and O2 and CO2 permeability were determined. Structural analysis was carried out via atomic force microscopy (AFM). Antifungal activity against Aspergillus niger, Fusarium spp., and Rhizopus spp. was evaluated. The addition of EO and nanocomposites reduced luminosity, providing color to the edible films. Film thickness increased through the addition of EO concentration. O2 and CO2 permeability was increased by bentonite/EO films, and for halloysite films, CO2 permeability decreased as EO concentration increased. The addition of EO with both nanocomposites shows an evident morphological change in film structure, decreasing pore density and increasing pore size. In general, Mexican oregano EO added to edible starch films has an adequate fungicidal effect. The most sensitive microorganism tested was A. niger. Edible films added with Mexican oregano EO and nanocomposites show better physical and antifungal properties due to an adequate structural change in the biopolymer matrix.
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Flores, Silvana. "Vínculos transnacionales entre México y Estados Unidos: la figura de José U. Calderón en la transición al cine sonoro /Transnational links between Mexico and United States: the figure of José U. Calderón in the transition to sound cinema." Kamchatka. Revista de análisis cultural., no. 10 (December 29, 2017): 513. http://dx.doi.org/10.7203/kam.10.10821.

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Resumen: Proponemos indagar un aspecto de la cinematografía mexicana que ha tenido poca difusión en la historiografía sobre el cine de ese país: las actividades realizadas por el empresario mexicano José U. Calderón en relación a sus conexiones con Estados Unidos, en pos de las experimentaciones que signaron al período inicial del cine sonoro, que incluyeron la expansión de los cines nacionales tanto internamente como en el mercado exterior por medio de la distribución y exhibición de films. Para ello, se desglosarán diferentes aspectos que Calderón ha logrado desarrollar dando como resultado una expansión de la cinematografía mexicana de características transnacionales, como la experimentación técnica, la fundación de empresas de distribución, exhibición y producción, la contratación de artistas y el empleo de géneros como el musical y el melodrama. Dichos aspectos serán trabajados en función de los intercambios comerciales y estético-narrativos que se dieron entre México y Estados Unidos en ese período. Palabras clave: Calderón, transnacional, cine sonoro, México, Estados Unidos. Abstract: We propose to inquire an aspect of Mexican cinema that had very little diffusion in the historiography of the cinema of that country: the activities of Mexican entrepreneur José U. Calderón and his connections with United States in pursuit of experiments that marked the beginning of sound cinema, that included the expansion of national cinemas inside and outside through film distribution and exhibition. For that purpose, we will develop different aspects that Calderón achieved resulting in an expansion of Mexican cinema into the transnational, as technical experimentation, the foundation of distribution, exhibition and production enterprises, the recruiting of artists and the uses of genres as musical and melodrama. Those aspects will be worked taking into account the commercial and aesthetic-narrative exchanges made between Mexico and United States during that period. Keywords: Calderón, transnational, sound cinema, Mexico, United States.
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Lozano-Rendón, José Carlos. "Foreign film and television consumption and appropriation by Latin American audiences." Comunicar 15, no. 30 (March 1, 2008): 67–72. http://dx.doi.org/10.3916/c30-2008-01-010.

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Empirical research on patterns of consumption and appropriation of foreign television and film on Mexican audiences in particular, and Latin American audiences in general, are scarce despite the long tradition of cultural imperialism and supply of foreign content studies. This article discusses the tendency of Latin American culturalists to avoid the study of the ideological readings of foreign audiovisual messages, and reviews the relevance of proposals like «cultural proximity» as a tool for understanding Mexican and Latin American audience’s patterns of television consumption.Los estudios empíricos de recepción sobre los patrones de consumo y apropiación de cine y televisión extranjera por parte de las audiencias mexicanas, en particular, y latinoamericanas, en general, son casi inexistentes a pesar de la larga tradición del imperialismo cultural y los diagnósticos de oferta que han proliferado en los últimos años. Este artículo discute la tendencia de los culturalistas latinoamericanos a no estudiar directamente las lecturas ideológicas de los mensajes audiovisuales extranjeros, y revisa la utilidad de propuestas como la de la «proximidad cultural» en tanto herramientas para entender los patrones de consumo televisivo de las audiencias mexicanas y de América Latina en general.
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Cohen, Jeffrey H. "Where do they go? “A day without a Mexican,” a perspective from south of the border." MIGRATION LETTERS 3, no. 1 (April 16, 2006): 77–86. http://dx.doi.org/10.33182/ml.v3i1.33.

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The author uses the film “A day without a Mexican” to explore Mexican-US migration and to examine current US policy on immigration and in particular, US attitudes toward undocumented Mexican migrant workers.
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Smith, Paul Julian. "Festival Special: Morelia, Mexico." Film Quarterly 63, no. 3 (2010): 18–22. http://dx.doi.org/10.1525/fq.2010.63.3.18.

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A report from the 2009 Morelia Film Festival, in the Mexican state of Michoacáán. Three themes recurred in the films screened: the murderous legacy of the past, present-day anxiety, and pastoralism——which converge in Juliáán Hernáández's outstanding Enraged Sun, Enraged Sky.
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Miller, Cynthia J. "Cinemachismo: Masculinity and Sexuality in Mexican Film." History: Reviews of New Books 34, no. 4 (July 2006): 116–17. http://dx.doi.org/10.1080/03612759.2006.10526926.

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González Sandoval, Dulce C., Brenda Luna Sosa, Guillermo Cristian Guadalupe Martínez-Ávila, Humberto Rodríguez Fuentes, Victor H. Avendaño Abarca, and Romeo Rojas. "Formulation and Characterization of Edible Films Based on Organic Mucilage from Mexican Opuntia ficus-indica." Coatings 9, no. 8 (August 9, 2019): 506. http://dx.doi.org/10.3390/coatings9080506.

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The consumption of organic products has increased in recent years. One of the most important products in Mexico is nopal. Nopal’s content and properties make the formulation of edible films possible. In this study, we aimed to develop and characterize biodegradable edible films containing mucilage from Opuntia ficus-indica. The mucilage extraction yield, thickness, color, water vapor permeability, light transmission rate, film transparency, solubility, stability of dispersion, and puncture strength were measured. The use of mucilage from different cultivars affected the water vapor permeability (8.40 × 10−11 g·m−1·s−1·Pa−1 for cultivar Villanueva, 3.48 × 10−11 g·m−1·s−1·Pa−1 for Jalpa, and 1.63 × 10−11 g·m−1·s−1·Pa−1 for Copena F1). Jalpa provided the most soluble mucilage with the highest thickness (0.105 mm). Copena F1 provided the clearest film with the greatest transparency (3.81), the best yellowness index, and the highest resistance (4.44 N·mm−1). Furthermore, this film had the best light transmission rate (48.93%). The Copena F1 showed the best film formation solution viscosity. These results indicate that mucilage mixed with pectin is a potential source for the formulation of edible films.
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Dissertations / Theses on the topic "Mexican film"

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Drake, Susan Wiebe. "María Félix the last great Mexican film diva : the representation of women in Mexican film, 1940-1970 /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118953316.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains viii, 177 p. Includes bibliographical references (p. 165-177). Available online via OhioLINK's ETD Center
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Drake, Susan Wiebe. "Maria Felix: the last great Mexican film diva: the representation of women in Mexican film, 1940-1970." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1118953316.

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Navarro, Leticia. "An emotional journey through Mexican films." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7033.

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One of the characteristics of film viewing since the beginning is the reaction film causes in the audience. This emotional reaction puzzles me. The aim of this study is to discover how film conveys emotions to the viewer and how these emotions are triggered. Film viewing has an emotional response often expressed by the viewer whether the film was good or not. What is it that makes it so appealing to our emotions?

In order to find an answer I have looked through the theories of Greg M. Smith, Annette Kuhn, Allan Casebier and Colin McGinn, among others, to unveil how this emotions emerge. These theories approach the emotions in different ways giving a wider view of how emotions emerge during the film viewing. Personally, I am emotionally attracted to black and white Mexican films from the 40’s and 50’s and based the analysis on some of this films.

After analysing Mexican films from the 40’s and 50’s I have come to the conclusion that the emotional reaction can be analysed by filmic tools such as the mood-cue system or the reading of thresholds and boarders, among others. The sum of visual, aural, narrative, movement among other elements together trigger emotions expressed depending of one’s own beliefs. Films have developed a wide range of ways to cue the viewer to a certain response and enhance determined emotions. The emotional response is however strongly linked to the individual background of the viewer and its beliefs. This makes a general reading not always easy to predict.

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Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times: reinventing inconographies, nation, and gender." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1164735049.

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Taylor, Candida Louise Buddie. "Identity is an optical illusion : film and the construction of Chicano identity." Thesis, University of Birmingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251878.

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This thesis examines constructions of Chicano (or Mexican American) identity in literature and film. I explore how writers and filmmakers negotiate the dominance of Hollywood models over the culture. In Chapter One, I argue that literature gives way to film in articulations of Chicano identity; Gonzales and Anzald6a use cinematic imagery and Castillo's short story adopts the characteristics of film. Chicano documentaries were made to correct Hollywood's negative images of the culture. In Chapter Two I study Luis Valdez's Zoo! Suit (1981), a film that celebrates the Chicano icon of the pachuco by subverting the Hollywood musical genre. Chapter Three considers two films by Lourdes Portillo in which Chicano culture is scrutinised through the frames of ethnography and film noir. In Chapter Four I examine John Sayles' revisionist Western, Lone Star and the extent to which history dominates the present in Texas. Robert Rodriguez's Mexican action heroes and his ethnic humour are the subject of Chapter Five. Chapter Six examines two films by Allison Anders in the light of her self-confessed obsession with Chicano culture. In conclusion I argue that Anders' autobiographical character in Gas, Food, Lodgi»g (1991), articulates Anglo anxieties about identity, bringing the trajectory around full circle.
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Esquivel-King, Reyna M. "Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601229993353.

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Vela-Beltran-del-Rio, Cesar. "The Human Robot: A Narrative Study of Identity Change in Mexico Through an Analysis of Mexican Films." NSUWorks, 2014. http://nsuworks.nova.edu/shss_dcar_etd/42.

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In order to succeed in an intellectually, economically, socially, and politically controlled system, as México, one has to develop a sense of inner direction and empowerment, where critical thinking is vital yet patriarchy becomes an impediment to the development of an inner compass and empowerment when it shapes and controls the masses’ identity and behavior through different strategies, methods, and institutions. One of the most powerful and popular identity shaping strategies is film making. Film is considered by most as a source of entertainment portraying social interactions. Yet it is a powerful identity-shaping tool for the establishment. It has been used by the Mexican government and its associates, for a long time, in an effort to sustain the status quo and justify its existence and social performance. The selected methodology of this study allowed comparison and contrasting of messages transmitted about identity, behavior, role-identification, values, and life scripts, using films from three different periods of the development of México: agricultural (1920s-1950s), industrial (1950s-1990s), and neoliberal (1990s-today). Religion, social interactions, gender, ethnicity, and nation-states are some of the main themes that emerged from this exploration of identity and behavior shaping strategies used in the Mexican films analyzed. The Identity shaping strategies are an efficient way of dealing with conflict because controlling and constraining is done by the individuals rather than by the nation-state.
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Blaney-Laible, Lucy Lea. "Incomplete Resistance: Representations of Prostitutes and Prostitution in Contemporary Brazilian and Mexican Films." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/205212.

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Representations of prostitution are often used to negotiate changing meanings of gender and economy during times of turmoil. This dissertation examines the Brazilian films, O Céu de Suely (2006), Baixio das Bestas (2007) and Deserto Feliz (2008) and two Mexican films El Callejón de los Milagros (1995) and ¿Quién diablos es Juliette? (1996) to better understand how they deal with representations of prostitution in a rapid transition to neoliberalism. In order to better understand this process, I develop a concept called "incomplete resistance." This term connotes the practice of denouncement without indictment. That is, the existence of prostitution and the conditions that compel women to sell sex are lamented, but without identifying the real underlying causes. Additionally, several of the films examined in this dissertation decry the conditions that lead women to be prostituted, but simultaneously encourage the viewer to take pleasure in the process. By contextualizing the films within the changing film industries of Brazil and Mexico, I seek to illuminate the connections between gender, prostitution films and governmentality.
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Brown, Ruth. "Telling the Story of Mexican Migration: Chronicle, Literature, and Film from the Post-Gatekeeper Period." UKnowledge, 2013. http://uknowledge.uky.edu/hisp_etds/11.

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This study examines how the social process of undocumented Mexican migration is interpreted in the chronicle, literature, and film of the post-Gatekeeper period, which is defined here at 1994-2008. Bounded on one side by the Mexican economic crisis of 1994, and increased border security measures begun in that same year, and on the other by the advent of the global economic crisis of 2008, the post-Gatkeeper period represents a time in which undocumented migration through the southern U.S. border reached unprecedented levels. The dramatic, tragic, and compelling stories that emerged from this period have been retold and interpreted from a variety of perspectives that have produced distinct, and often paradoxical, images of the figure of the undocumented migrant. Creative narrative responds to this critical point in the history of Mexican migration to the U.S.by applying the inherently subjective and mediated form of artistic interpretation to a social reality well documented by the media, historians, and social scientists. Throughout the chronicle, literature, and film of this period, migration is understood as a cultural tradition inspired by regional history. These stories place their undocumented protagonists on a narrative trajectory that transforms migration into a heroic quest for personal and community renewal. Such imagery positions the undocumented migrant as an active agent of change and provides discursive visibility to a figure often represented, in media and political rhetoric of the period, as an anonymous, collective Other. Filtered through this creative lens, migration is revealed as a complex social process in which individual experience is informed not only by personal ambition, but also by the expectations of the home community and its culture of migration. The creative works examined here foreground the history, motivation, and experience of their migrant protagonists in relation to the socio-historical context of this period. In doing so, they compose tales of migration in which the figure of the undocumented migrant plays a primary role, one informed not only by the experience of migration, but also by personal and community history.
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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Mexican film"

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Mas! Cine mexicano more!: Sensational Mexican movie posters, 1957-1990 = carteles sensacionales del cine Mexicano, 1957-1990. San Francisco, Calif: Chronicle Books, 2007.

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Cinemachismo: Masculinities and sexuality in Mexican film. Austin: University of Texas Press, 2006.

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MacLaird, Misha. Aesthetics and Politics in the Mexican Film Industry. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340.

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Jorge, Larson Guerra, ed. El cartel cinematográfico mexicano. México: Cineteca Nacional, 1987.

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Claudia, Monterde, Fundación Televisa, Palacio de Bellas Artes (Mexico City, Mexico), and Los Angeles County Museum of Art, eds. Under the Mexican sky: Gabriel Figueroa, art and film. [United States]: Turner, 2013.

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Chicano images: Refiguring ethnicity inmainstream film. New York: Garland Publishing, 1996.

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Bonfil, Carlos. ¡Hoy grandioso estreno!: El cartel cinematográfico en México. México, D.F: Dirección General de Publicaciones del Consejo Nacional para la Cultura y las Artes, 2011.

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Sueños de papel: El cartel cinematográfico mexicano de la época de oro. México, D.F: Universidad Autónoma Metropolitana, Unidad Xochimilco, División de Ciencias Sociales y Humanidades, 2010.

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List, Christine. Chicano images: Refiguring ethnicity in mainstream film. New York: Garland Pub., 1996.

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Cine mexicano: Posters from the golden age, 1936-1956 = carteles de la época de oro, 1936-1956. San Francisco: Chronicle Books, 2001.

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Book chapters on the topic "Mexican film"

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MacLaird, Misha. "Independence and Innovation: Indie Film and the Youth Market." In Aesthetics and Politics in the Mexican Film Industry, 131–62. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_6.

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MacLaird, Misha. "Introduction." In Aesthetics and Politics in the Mexican Film Industry, 1–17. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_1.

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MacLaird, Misha. "Industry and Policy: Privatizing a National Cinema." In Aesthetics and Politics in the Mexican Film Industry, 21–44. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_2.

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MacLaird, Misha. "Audiences and Target Markets: On Spectatorship and Citizenship." In Aesthetics and Politics in the Mexican Film Industry, 45–71. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_3.

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MacLaird, Misha. "Censorship and Sensationalism: “el neotremendismo autoritario”." In Aesthetics and Politics in the Mexican Film Industry, 73–97. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_4.

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MacLaird, Misha. "Hyperrealism and Violence: Fatal Aesthetics." In Aesthetics and Politics in the Mexican Film Industry, 101–29. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_5.

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MacLaird, Misha. "Coproduction and Transnationalism: National Cinema in a Global Market." In Aesthetics and Politics in the Mexican Film Industry, 163–87. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_7.

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MacLaird, Misha. "Conclusion." In Aesthetics and Politics in the Mexican Film Industry, 189–200. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137319340_8.

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Cervantes, Cristina. "Characters and Conflict: Dramatic Structure in Three Mexican Documentaries." In Visual Synergies in Fiction and Documentary Film from Latin America, 151–61. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230622159_10.

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Fuller, Stephanie. "Danger, Disappearance, and the Exotic: American Travelers and Mexican Migrants." In The US-Mexico Border in American Cold War Film, 51–64. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137535603_4.

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Conference papers on the topic "Mexican film"

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Benites-Rengifo, J. "Film Dosimetry for Intensity Modulated Radiation Therapy." In MEDICAL PHYSICS: Eighth Mexican Symposium on Medical Physics. AIP, 2004. http://dx.doi.org/10.1063/1.1811859.

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Gaona, Enrique. "Reproducibility of Mammography Units, Film Processing and Quality Imaging." In MEDICAL PHYSICS: Seventh Mexican Symposium on Medical Physics. AIP, 2003. http://dx.doi.org/10.1063/1.1615115.

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Gaona, E., J. Azorín Nieto, J. A. Irán Díaz Góngora, M. Arreola, G. Casian Castellanos, G. M. Perdigón Castañeda, and J. G. Franco Enríquez. "Quality Imaging — Comparison of CR Mammography with Screen-Film Mammography." In MEDICAL PHYSICS: Ninth Mexican Symposium on Medical Physics. AIP, 2006. http://dx.doi.org/10.1063/1.2356456.

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Delgado-González, A., R. E. Sanmiguel, Gerardo Herrera Corral, and Luis Manuel Montaño Zentina. "Comparative Study Of Image Enhancement Algorithms For Digital And Film Mammography." In MEDICAL PHYSICS: Tenth Mexican Symposium on Medical Physics. AIP, 2008. http://dx.doi.org/10.1063/1.2979259.

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Mendoza-Moctezuma, A. I., J. García Aguilar, O. A. García-Garduño, Maria-Ester Brandan, Flora Herrera-Martinez, Veronica Ramírez-R., and Mercedes Rodriguez-Villafuerte. "Characterization of GafChromic XR-RV2 film and comparator strip using a flatbed scanner in reflection mode." In ELEVENTH MEXICAN SYMPOSIUM ON MEDICAL PHYSICS. AIP, 2010. http://dx.doi.org/10.1063/1.3531581.

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Galván, Héctor, Varlen Grabski, Cesar Ruiz, Yolanda Villaseñor, and María-Ester Brandan. "Design and Construction of a Test Phantom for Screen/Film Mammography Quality Control." In MEDICAL PHYSICS: Ninth Mexican Symposium on Medical Physics. AIP, 2006. http://dx.doi.org/10.1063/1.2356449.

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Hernández-Guzmán, Abel, Nestor Aragón-Martínez, Arnulfo Gómez-Muñoz, and Guerda Massillon-JL. "Absorbed dose distribution in liquid water for a CyberKnife VSI using radiochromic EBT3 film." In MEDICAL PHYSICS: Fourteenth Mexican Symposium on Medical Physics. Author(s), 2016. http://dx.doi.org/10.1063/1.4954114.

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Arreola, Manuel M. "Converting Radiology Operations in a Six-Hospital Healthcare System from Film-Based to Digital: Another Leadership Role for the Diagnostic Medical Physicist." In MEDICAL PHYSICS: Eighth Mexican Symposium on Medical Physics. AIP, 2004. http://dx.doi.org/10.1063/1.1811816.

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Martínez-Galicia, R., M. Martínez-Mares, E. Castaño, Moises Martinez-Mares, and Jose A. Moreno-Razo. "Scattering approach of losses in a thin metal film." In CONDENSED MATTER PHYSICS: IV Mexican Meeting on Experimental and Theoretical Physics: Symposium on Condensed Matter Physics. AIP, 2010. http://dx.doi.org/10.1063/1.3536602.

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Shangguan, Jinhong. "Analysis on the Reasons for the Intensive Resonance Among Mexican of the Film Coco." In 2020 4th International Seminar on Education, Management and Social Sciences (ISEMSS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200826.111.

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Reports on the topic "Mexican film"

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Pratap, Sangeeta, and Carlos Urrutia. Firm Dynamics, Investment, and Debt Portfolio: Balance Sheet Effects of the Mexican Crisis of 1994. Cambridge, MA: National Bureau of Economic Research, May 2004. http://dx.doi.org/10.3386/w10523.

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Lithology of basin-fill deposits in the Albuquerque-Belen Basin, New Mexico. US Geological Survey, 1990. http://dx.doi.org/10.3133/wri894162.

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Water resources in basin-fill deposits in the Tularosa Basin, New Mexico. US Geological Survey, 1986. http://dx.doi.org/10.3133/wri854219.

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Estimation of alluvial-fill thickness in the Mimbres ground-water basin, New Mexico, from interpretation of isostatic residual gravity anomalies. US Geological Survey, 2002. http://dx.doi.org/10.3133/wri024007.

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Characteristics and properties of the basin-fill aquifer determined from three test wells west of Albuquerque, Bernalillo County, New Mexico. US Geological Survey, 1987. http://dx.doi.org/10.3133/wri864187.

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Simulated water-level and water-quality changes in the bolson-fill aquifer, Post Headquarters area, White Sands Missile Range, New Mexico. US Geological Survey, 1988. http://dx.doi.org/10.3133/wri874152.

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Potentiometic surface, 1980, and water-level changes, 1969-80, in the unconfined valley-fill aquifers of the San Luis Basin, Colorado and New Mexico. US Geological Survey, 1985. http://dx.doi.org/10.3133/ha683.

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