Dissertations / Theses: '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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Neely, Jacob S. "INTIMATE INDIGENEITIES: ASPIRATIONAL AFFECTIVE SOLIDARITY IN 21^ST CENTURY INDIGENOUS MEXICAN REPRESENTATION." UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/42.

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This dissertation analyzes six contemporary texts (2008–18) that represent indigenous Mexicans to transnational audiences. Despite being disparate in authorship, genre, and mode of presentation, all address the failings of the Mexican state discourse of mestizaje that exalts indigenous antiquities while obfuscating the racialized socioeconomic hierarchies that marginalize contemporary indigenous peoples. Casting this conflict synecdochally as the national imposing itself on quotidian life, the texts help the reader/viewer come to understand it in personal, affective terms. The audience is encouraged to identify with how it feels to exist in a space where, paradoxically, the interruption of everyday life has become the status quo. Questioning the status quo by appealing to international audiences, these texts form a contestatory current against state mestizaje within the same transnational networks of legitimation employed in the 19th and 20th centuries to promote it. In this way, the texts work to build political solidarity via affective means in order to promote and propagate in the popular discourse a questioning how the Mexican state apprehends its indigenous citizens. Ultimately, they seek more inclusive, representative governmental policies for indigenous peoples in Mexico without rejecting capitalist hegemony: they are articulating it against itself.

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McIntosh, David. "Nation, nation-state, national cinema and free trade, shifting Canadian and Mexican film cultures since 1989 under FTA and NAFTA." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0001/MQ43392.pdf.

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Rios, Bernardo Ramirez. "Culture, Migration, and Sport: A Bi-National Investigation of Southern Mexican Migrant Communities in Oaxaca, Mexico and Los Angeles, California." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338140496.

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Cavalier, Stevie L. "The Piñata." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2596.

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In this paper I will discuss the making of the short film, The Piñata, from its inception to its path of being submitted to festivals. I will discuss the steps taken to complete the processes of development, pre-production, production, and post-production. In each section of this document I will relay the decisions I made during my experience being the producer, writer, director, editor, and casting director of The Piñata.

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HILL, Mathew J. K. "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1915.

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As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study examines three of his indigenista films, María Candelaria, Río Escondido, and Maclovia, to see how Fernández created representations of Mexico's indigenous populations that contributed to and deviated from indigenista policies in post-Revolutionary Mexico. This representation relies on the formation of a national myth based on a static, aestheticized Indian which incorporates all Mexicans into official state history.

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García, Blizzard Mónica del Carmen. "The Indigenismos of Mexican Cinema before and through the Golden Age: Ethnographic Spectacle, “Whiteness,” and Spiritual Otherness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468943537.

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Coronado, Guel Luis Edgardo, and Guel Luis Edgardo Coronado. "Dios, Patria y mis Derechos: The Secularization of Patriotism and Popular Legal Culture in Revolutionary Mexico, 1917-1929." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621436.

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Although secularization has early antecedents in Mexico's history, the generation who embodied the Constitutionalist faction of the 1910 Revolution undertook an unprecedented campaign to achieve it. Strong anticlerical provisions proclaimed in the 1917 Constitution were implemented and gradually escalated in intensity by the administrations of Presidents Álvaro Obregón and Plutarco Elias Calles. This ignited an armed uprising known as the Cristero Rebellion that arose in rural Mexico in 1926. Beyond the armed conflict, this dissertation analyzes the cultural effects caused by the implementation of such a legal and institutional agenda that reveal a substantial confrontation in the public sphere between two opposed concepts of society-religious and non-religious. As a result, society became highly polarized while the government pushed its secularization aims to the extreme as never before. New laws intervened more intensely on private rights, transforming people's everyday ideas about religion, nation, law, justice and citizenship. By looking at citizens' experiences with such law enforcement, this work elucidates how the state finally neutralized radical Catholicism by stigmatizing it as non-patriotic in the public sphere. This phenomenon that happened between 1917 and 1929 can be conceptualized as the secularization of patriotism and the transformation of people's notions of the legal system- defined as the legal popular culture- that was central to Mexico's social and cultural Revolution.

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Oliveira, Jefferson Cardoso. "Sitios da morte sem fim: espaço de focalização em Pedro Páramo." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6223.

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Made available in DSpace on 2015-05-14T12:39:42Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 2482105 bytes, checksum: 656877e99cf580645a5b72673fd4e8cf (MD5) Previous issue date: 2013-05-03
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This dissertation examines some elements of the complex spatiality in Pedro Páramo, verifying how these elements stablishes associations to the focus and structure of the only novel written by the Mexican writer Juan Rulfo. Our research is based on the correlation between space and focus and how the space is related to the structure of the text. We take into consideration the critical aproaches presented by Luis A. Brandão, Ozíris B. Filho among others who have studies based on topoanalysis. The story is told from the perspective of multiple narrators who have died, changing the settings of time and space that rules the novel, making it very atypical. These characteristics are strongly linked to the peculiar structure of the narrative and the behavior of the characters and narrators who offers a post mortem angle of their stories. Due to the breaking of barriers separating life and death, the characters move through several layers of time and space, doomed to pay his penalties indefinitely on Comala, the ghost town where the story is set.
Propomos, nesta dissertação, a análise de alguns dos elementos que compõem a complexa espacialidade presente em Pedro Páramo, verificando como esses elementos espaciais se relacionam com a focalização e a estruturação da narrativa do único romance do escritor mexicano Juan Rulfo. Nossa pesquisa contempla as relações entre espaço e focalização que está compreendida no terceiro modo da abordagem proposta por Luis A. Brandão, além de aspectos do segundo modo que relaciona o espaço e a estruturação do texto. Também estão contempladas as considerações críticas apontadas por Ozíris B. Filho sobre o espaço da narração e o espaço da narrativa. Por ser uma história contada sob a perspectiva de múltiplos narradores que já morreram, as configurações de tempo e espaço que regem o romance assumem características absolutamente atípicas. Tais características estão fortemente ligadas à peculiar estruturação da narrativa e ao comportamento das personagens e narradores que oferecem um ângulo post mortem de suas histórias. Devido ao rompimento das barreiras que separam vida e morte, as personagens se movimentam por diversas camadas de tempo e espaço, fadadas a se repetir ao pagar suas penas e reiterar a morte indefinidamente por Comala, cidade fantasma onde a narrativa está situada.

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Fortin, Maria. "De pré-textes en prétextes : Le cinéma d'Arturo Ripstein." Thesis, Littoral, 2015. http://www.theses.fr/2015DUNK0420.

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Ce travail de recherche propose d'étudier le cinéma d'Arturo Ripstein, et se concentre plus particulièrement sur un corpus de films, tous élaborés à partir d'oeuvres préexistantes. La notion de "pré-texte" fait référence à ces dernières, dont l'origine est dans la plupart des cas littéraire, mais aussi cinématographique. L'analyse des réélaborations ripsteiniennes entend mettre en avant le prétexte qui se cache derrière le recours au pré-texte. En d'autres termes, il s'agit, pour chacun des huit films sélectionnés, de dévoiler le message que l'artiste a souhaité véhiculer, ou l'intention sous-jacente de l'acte créatif. La dialectique local/global traverse l'ensemble de la thèse. Elle est d'abord visible à travers son architecture , dans la mesure où notre travail part des pré-textes mexicains, puis s'intéresse aux productions du Tiers monde, pour terminer avec les pré-textes issus de la culture européenne. Mais nous avons aussi souhaité la mettre en évidence en évoquant, au sein des différentes parties, les phénomènes d'intertextualité, d'interfilmicité, et les stratégies de production, qui octroient au cinéma de Ripstein une dimension transnationale
This research explores Arturo Ripstein's cinema, and focuses more particularly on a corpus of films which are all based on pre-existent works. The notion of "pre-text" refers to the latter, whose originsare in most cases leterary, but also cinematographic. The analysis of Ripstein's reworking saims at highlighting the pretext hiding behind the use of the pre-text. In other words, for each of the eight selected movies, we try to reveal the message the artist wished to convey, or the underlying intention of the creative act. The local/global dialectic is present throughout the whole thesis. It is first visible in its structure, given that our work takes as its starting point Mexican pre-texts, then examines Third World productions, and finally the pre-texts originating in European culture. But this dialectic is also illustrated, in the different parts of our work, through the phenomena of intertextuality or interfilmicity, and the strategies of production give Ripstein's cinema a transnational dimension

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Burton, Mary Ashley. "Contextos nacionales y transnacionales: la nueva reencarnación del melodrama mexicano en la película Bella (2006, Alejandro Monteverde)." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1334192023.

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Quinsani, Rafael Hansen. "A revolução em película : a relação cinema-história e a construção do paradigma historiográfico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/139408.

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Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética.
This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

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Gomez-Gomez, Carmen Elisa. "Familia y cine mexicano en el marco del neoliberalismo. Estudio critico de Por la libre, Perfume de violetas, Amar te duele y Temporada de patos." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253550808.

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Dey, Catherine Elizabeth. "Bunuel's 'other' films : responding to work from the Mexican period." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369708.

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Pitts, Robert Christopher. "Comparing Expectations of Mexican-Immigrant Mothers and School Staff for Student Success." Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1398%5F1%5Fm.pdf&type=application/pdf.

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Beckham, Jack Marlin. "Demythologizing Mexico counternarratives in Twentieth century American literature and film /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=42&did=1905732471&SrchMode=1&sid=2&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270143668&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Includes bibliographical references (leaves 156-162). Issued in print and online. Available via ProQuest Digital Dissertations.

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Espinoza, Aguiló Tomás. "Founding Family Ownership and Firm Performance: — Evidence from the Mexican Stock Exchange." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/107985.

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Nosotros investigamos si existe alguna diferencia en el desempeño de las compañías familiares relativo a las no familiares, considerando una muestra del total de compañías de la bolsa de valores de México, para el periodo 2000-2009(3), donde 56 de 99 firmas fueron consideradas familiares. Explicamos la diferencia de desempeño de las compañías a partir del ROA y ROE, realizando un test de diferencia de medias entre los dos grupos de firmas para luego confirmar nuestros resultados con un análisis multivariado. Nosotros encontramos que las compañías familiares presentan un desempeño significativamente mejor que las compañías no familiares, dado un grupo de ventajas que estas presentan.
We investigate whether there is any difference in the performance of family companies on the non-family, considering a sample of the total companies in the Market Stock Exchange of Mexico, for the period 2000-2009 (3), where 56 of 99 firms were considered family. We explain the difference in performance of companies from the ROA and ROE, by a difference of mean test, between the two groups of firms and then confirm our results with multivariate analysis. We found that family companies have performed significantly better than non-family companies, given a set of advantages these present.

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Bielous, Gabriela Dutrenit. "From knowledge accumulation to strategic capabilities : knowledge management in a Mexican glass firm." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263150.

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Urquijo-Ruiz, Rita E. "Las figuras de la peladita/el peladito y la pachuca/el pachuco en la producción cultural chicana y mexicana de 1920 a 1990 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3138840.

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Thesis (Ph. D.)--University of California, San Diego, 2004.
Accompanied by compact disc sound recording of 11 Pachuco trio songs by Lalo Guerrero with Trio Imperial. Vita. Includes bibliographical references (leaves 200-209).

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Dorton, Elizabeth deShazo. "Michel Franco: Auteur of Violence." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77934.

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Michel Franco’s works provide his audience with a conceptualization of modern (mostly Mexican) society through an exploration of violence and trauma as they affect the individual on both personal and public levels. Using the filmic auteur theory as my basis for an exploration of his body of work, I examine his use of spatial theory, trauma, spectatorial complicity, and neoliberalism as contributors to violence in the present day, both within a Mexican and universal context. Within his films, violence is demonstrated as resultant of his characters’ environments and larger systems at work, reflected in both the spaces they inhabit and their individual selfpresentations after surviving traumatic events. Ultimately, these works lead his audiences to moments of self-reflection regarding their own involvement with mediatic violence and how they assist in its perpetuation. I have taken this thesis project as an opportunity to explore each of his films as unique parts of a collective whole, in the hopes of providing a cohesive analysis of each while also demonstrating their impact as they are connected to one another thematically. Franco’s ability to explore contemporary, similar themes in a multitude of forms places him in the position of a filmic auteur, one arguably enjoyed by his contemporaries but not indicative of the generation of Mexican directors who preceded him. Thus, he simultaneously ushers in a new form of contemporary Mexican cinema. Ultimately, his explorations of trauma are resultant of a discussion of mediatic violence in contemporary society.
Master of Arts

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Martinez, Sergio Mora. "La representación del espacio fronterizo en la narrativa mexicano y méxicoamericana, 1974-1998." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1045%5F1%5Fm.pdf&type=application/pdf.

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Varner, Natasha. "La Raza Cosmética: Beauty, Race, and Indigeneity in Revolutionary Mexico." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/612404.

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This dissertation traces the creation of identity, race, and gender ideals during a period of heightened nationalism in Mexico from 1920 through 1946. In hopes of reestablishing stability and prosperity following a decade of Revolutionary warfare, an enterprising group of mid-level bureaucrats, artists, and intellectuals devoted themselves to the creation of a unified national identity. This period of nation building coincided with a boom in visual technologies, thus popular visual culture became an important site for articulating and disseminating new nationalist ideals to the masses. Women were positioned as the ideal conduits for disseminating national identity to the masses and they increasingly bore symbols that wed Indigenous heritage with Mestizo identity in popular culture depictions. Analyzing this nation building process through the lens of beauty as it was mediated through pageants, film, photography, and other ephemera allows for insight into the construction of gendered, racialized identity ideals. While much of this visual discourse was trafficked in the realm of ideas and ephemera, it was also very much based in place. This dissertation analyzes how these projects both shaped and were influenced by efforts to modernize and preserve sites of living Aztec memory in Mexico City. Examination of this identity project in place allows for glimpses of myriad counter-narratives in which Indigenous peoples strategically engaged with and resisted imposed race and gender ideals. Finally, this dissertation considers how the Revolutionary-era conflation of race and culture laid the foundation for a contemporary multiculturalism that discursively elides the existence of widespread inequity and structural racism.

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Miranda, Jose Leopoldo Guevara. "Precipitation estimation over Mexico applying PERSIANN system and gauge data." Thesis, The University of Arizona, 2002. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0050_m_sip1_w.pdf&type=application/pdf.

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Dominguez, Sanchez Teodulo. "Reduction of Pathogens in Biosolids in Mexico Using Solar Drying Beds." Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1383%5F1%5Fm.pdf&type=application/pdf.

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Davila, Juan Pablo. "Corporate Governance and firm value: evidence from Colombia and Mexico." Thesis, Cranfield University, 2014. http://dspace.lib.cranfield.ac.uk/handle/1826/9276.

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This research is the result of the author’s quest to answer the question whether Corporate Governance is effective in Emerging Markets. Literature on Corporate Governance in the emerging markets of Latin America is limited mostly due to the relatively slower development of capital markets and the late adoption of corporate governance principles. Corporate Governance laws, which largely follow Sarbanes Oxley guidelines, were published and implemented in the mid 00´s and no research has checked their impact on corporate value in Latin America. This research reports compromises two empirical projects. The first project focused on the relationship between boards of directors attributes such size and composition, Corporate Governance law and firm value for Colombia. The second project focused on another Corporate Governance variable, CEO Duality and tested whether it has had any impact in Mexico. This second project also studied whether board attributes such as size and composition and Corporate Governance law were related to firm value. Based on the listed companies from Colombia and Mexico for the years 2001 to 2012 the author found no relationship between board size or composition and firm value. Results from Mexico, where CEO duality is allowed showed that it has no relationship with firm value. These results do not support or contradict either Agency theory or stewardship theory. Results on the impact of the adoption of a Corporate Governance law in firm value are mixed. Results for Colombia contradict previous literature by reporting a positive relationship between Corporate Governance laws and firm results while results from Mexico support previous research by reporting no relationship between these variables. This research is valuable for regulators and policy makers in their quest to assess the impact of the adoption of Corporate Governance laws in emerging markets. . Since effective Corporate Governance is important in easier access to financing it is important for shareholders to know which Corporate Governance mechanisms are positively related to firm value. Similarly, it is also important for investors (both foreign and local) in assessing the risk for equity investments in Colombia and Mexico.

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Tang, Donna Taxco. "Walking the Margin: Gender and Urban Spatial Production in La Paz, Mexico." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1394%5F1%5Fm.pdf&type=application/pdf.

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Fuller, Stephanie. "Romance, revolution and regulation : colonialism and the US-Mexico border in American Cold War film." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48432/.

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The 1950s saw perhaps the largest number of American films set on and around the US-Mexico border of any period of the twentieth century. This thesis investigates why this concentration of films appeared at this point in time. It argues that rather than responding to the changes in policy and practice along the borderline that were taking place in the 1950s, these films engage with cold war politics as they explore the relationship between the United States and Mexico through ideas of romance, revolution and regulation. The thesis contributes to the growing field of cultural studies of the Cold War by contending that these movies engage with cold war discourses of colonialism. I argue that through images of the US-Mexico border, colonialism is interrogated and that the international boundary is thus produced as a site through which concerns about the United States’ place in the cold war world are articulated. While much existing scholarship has examined the relationship of specific genres such as science fiction, westerns and film noir to cold war politics, this thesis moves away from such generic constraints to focus on films of different genres which feature representations of the US-Mexico border. The thesis’ central contribution therefore lies in its assertion that a study which is attentive to cinematic space and focused on a particular cinematic location can provide new ways of understanding cold war culture, and that American cinematic engagement with the Cold War is not limited to or defined by generic frameworks.

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Rusnak, Stacy S. "Mexican Cinema in a Global Age: The Films of Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_diss/23.

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This study investigates the participation of cinema in the continuing debates over Mexican national identity. Part one lays out the problem of defining “Mexicanness” in contemporary society, and demonstrates that during the 1990s a new attitude emerged amongst a younger generation that sought to redefine the image of the cosmopolitan Mexican urbanite. This section is devoted to the problematics of traditional discourses on Mexican identity, as well as to a theoretical shift away from a nationalist paradigm of identity formation towards a more flexible model that takes into consideration the global processes shaping contemporary Mexico. Part 2 analyzes three early Mexican films made by Guillermo Del Toro, Alfonso Cuarón, and Alejandro González Iñárritu, respectively Cronos (1993), Y tu mamá también (2001), and Amores perros (2000). I demonstrate through a heuristic model of the Real, Imaginary, and Symbolic how these films allegorize Mexico’s “coming to age tale” under the weight of political and economic changes. Part 3 shifts to the Hollywood films by these directors. Using a scalar concept, I illustrate how these directors’ works yield a new model for understanding the interconnectedness between the national and the transnational in a way that neither term is necessarily privileged, but rather coextensive.

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Roessel, Raymond J. "Hydrogeology of the Chinle Wash Watershed, Navajo Nation Arizona, Utah and New Mexico." Thesis, The University of Arizona, 1994. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0243_sip1_w.pdf&type=application/pdf.

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Moreno, Ramírez Denise. "Variables that contribute to the success of watershed organizations: analysis of past efforts in developing nations with an application in the Mexican portion of the upper San Pedro River basin." Thesis, The University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0315_sip1_w.pdf&type=application/pdf.

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Noyes, Thomas Kelly. "Nutrient levels and biostimulation in the lower Colorado River/reservoir system." Thesis, The University of Arizona, 1985. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1985_104_sip1_w.pdf&type=application/pdf.

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King, Chad Eric. "Application of the Hillslope Erosion Model to predict annual sediment yield in Southwest New Mexico." Thesis, The University of Arizona, 2002. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0003_m_sip1_w.pdf&type=application/pdf.

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Guber, Albert L. "Channel changes of the San Xavier Reach of the Santa Cruz River, Tucson, Arizona 1971-1988." Thesis, The University of Arizona, 1988. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1988_608_sip1_w.pdf&type=application/pdf.

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Kowalewski, Michal Jan. "Quantitative taphonomy, ecology, and paleoecology of shelly invertebrates from the intertidal environments of the Colorado River Delta, Northeastern Baja California, México." Diss., [S.l.] : University of Arizona, 1995. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1995_205_sip1_w.pdf&type=application/pdf.

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Donelson, Angela J. "Social Networks, Poverty and Development: An Analysis of Capacity Building in Arizona and New Mexico Colonias." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1072%5F1%5Fm.pdf&type=application/pdf.

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Havenor, Kay Charles. "The hydrogeologic framework of the Roswell groundwater basin, Chaves, Eddy, Lincoln, and Otero Counties, New Mexico." Arizona : University of Arizona, 1996. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1996_109_sip1_w.pdf&type=application/pdf.

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Hole, Heather. ""America as Landscape" Marsden Hartley and New Mexico, 1918-1924 /." View this thesis online, 2005. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.

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Thesis (Ph.D.)--Princeton University, 2005.
Title from PDF title page. Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 282-286). Also issued in print.

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Breunig, Lydia Ann. "Conservation in Context: Establishing Natural Protected Areas During Mexico's Neoliberal Reformation." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1450%5F1%5Fm.pdf&type=application/pdf.

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Serrat-Capdevila, Aleix. "An Alternative Approach to the Operation of Multinational Reservoir Systems: Application to the Amistad & Falcon Reservoir System (Lower Rio Grande/Rio Bravo)." Thesis, The University of Arizona, 2004. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0249_sip1_w.pdf&type=application/pdf.

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Stanley, Gary Edward. "Man, water and the Arizona/Sonora border: The current situation and the growing need for management." Thesis, The University of Arizona, 1988. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0030_m_sip1_w.pdf&type=application/pdf.

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Morehouse, Barbara Jo. "Landscape as text a sociogeographic study of the Santa Cruz River within the vicinity of Tucson, Arizona /." Thesis, The University of Arizona, 1990. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_1990_204_sip1_w.pdf&type=application/pdf.

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Dissertations / Theses on the topic 'Mexican film'

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