The US-Mexico Border in American Cold War Film

1. Front Matter

   Pages i-ix

   PDF

2. Introduction

   1. Introduction

      • Stephanie Fuller

      Pages 1-17

3. Romance

   1. Front Matter

      Pages 19-19

      PDF

   2. The Romance of Mexico: Tourists, Fugitives, and Escaping the United States

      • Stephanie Fuller

      Pages 21-31

   3. Mapping Borders and Identity: Representation, Transformation, and Ethnicity

      • Stephanie Fuller

      Pages 33-49

   4. Danger, Disappearance, and the Exotic: American Travelers and Mexican Migrants

      • Stephanie Fuller

      Pages 51-64

4. Revolution

   1. Front Matter

      Pages 65-65

      PDF

   2. The Revolutionary Politics of Mexico: Individualism, Communitarianism, and Landscape

      • Stephanie Fuller

      Pages 67-80

   3. Territory, Colonialism, and Gender at the American Frontier

      • Stephanie Fuller

      Pages 81-94

5. Regulation

   1. Front Matter

      Pages 95-95

      PDF

   2. Ethnicity, Imperialism, and the Law: Policing Identities at the Border

      • Stephanie Fuller

      Pages 97-112

   3. Border Cities as Contested Space: Postcolonial Resistance in Tijuana

      • Stephanie Fuller

      Pages 113-127

   4. Imperial Journeys and Traveling Shots: Regulation, Power, and Mobility

      • Stephanie Fuller

      Pages 129-146

6. Conclusion

   1. Conclusion

      • Stephanie Fuller

      Pages 147-152

7. Back Matter

   Pages 153-232

   PDF

Through an analysis of Cold War Era films including Border Incident , Where Danger Lives , and Touch of Evil , Stephanie Fuller illustrates how cinema across genres developed an understanding of what the U.S.-Mexico border meant within the American cultural imaginary and the ways in which it worked to produce the border.

• US-Mexico border
• Hollywood cinema
• cold war
• Mexico
• cinematic space
• cinema
• film
• gender
• Hollywood
• individual

"We have before us a book of sustained promise. In looking south instead of east (and north rather than west) Fuller studies a variety of situations and stereotypes whose force of expression is found not in genre or storyline but in spatial displacement and movement, interconnection, interrelation, intercession, and the like. She takes up films that perhaps only human and historical geographies would consider in the same breath: Border Incident, Borderline, Where Danger Lives, Border River, Wetbacks, The Tijuana Story, and, last but never least, Touch of Evil." - Tom Conley, Departments of Visual Studies and Romance Languages, Harvard University, USA

Stephanie Fuller received her PhD in film studies at the University of East Anglia, UK and her MA film studies with distinction from University College London, UK. Her work has been published in the Journal of Popular Film and Television, and the Journal of American Studies. Her research interests include Hollywood cinema, transnational media, cultural geography, urban studies, and Mexican cinema.

Policies and ethics