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The Country Within: María Novaro’s Border Films
Using the definition of the border film genre, and concepts like space and place, this article will analyse how María Novaro’s films El jardín del Edén/ The Garden of Eden (1994) and Sin dejar huella/ Without a Trace (2000) helped destroying stereotypes that had been built in commercial movies during decades by creating, through characters and images, first the city of Tijuana as a mosaic, then the southern border of Mexico as a utopia; this will be done by analysing how she constructs the idea of region and regional identity by denying the homogeneous traces sustaining national identity.
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Print ISSN: 0886-5655
Online ISSN: 2159-1229