Berg
Ramirez, Charles. “Cinema of Solitude: a Critical Study of Mexican film,
1967-1983.” University
of Texas Press, 1992. Print.1-252
This
book describes the themes behind film from its early starts during the mid-late
1800s to the collapse of the golden age of Mexican film near the 1970s. The
section that I focused more was on the notion of the Mexican identity within
film. Berg explains that this notion of focusing too much on portraying the
Mexican identity lead to a change within film, in which characters were more in
the realm of solitude, or a portrayal of a melancholy world.
Burr, Ramiro. "Narcocorrido Crackdown In Mexico Has Mixed Effect On Sales, Airplay." Billboard 115.11 (2003): 28. Academic Search Premier. Web. 6 Apr. 2012.
With the ongoing drug war violence happening in Mexico, the Mexican government have made it a grand issue to repress the famous narco-corridos from reaching the public ear. Yet, what this issue points out is that the governmrnt by using narco-corridos and the current violent situation as a legitimizer to prevent the air-play of certain songs, it has also taken the charge to silence regular corridos that portray government corruption. Using this article we intend to show the reason for why contemporary corridos have risen popularity in the public and have become unpopular for most of the government.
Cobo, Leila. "Los Tigres Take Their Stories From Real Life." Billboard 116.16 (2004): 5-77. Academic Search Premier. Web. 6 Apr. 2012.
Los Tigeres del Norte, a group that has become one of the most popular groups who has undertaken the realm of corridos and narco-corridos in order to create a sense for social action instead of simply creating a good song to listen or to pay any homage to drug kingpins. Through this article for historical purposes we can show how contemporary bands like the one in this article use the corridos as well as the dangerous narco-corridos in order to create a social awareness.
Dzuris, Linda. "Using Folk Songs and Ballads in an Interdiciplinary Approach to American History." The History Teacher 36 (2003): 331-342. Print.
This highlights the importance of ballads and folk songs as markers of history which can be applied to corridos as well. I found it very interesting talking about incorporating these non-traditional sources in the teaching of history.
Hansen, Terrence L. “Corridos in Southern California.” Western Folklore, Vol. 18 (1959): 203- 232. Western States Folklore Society. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/1497707
Corridos in Southern California not only gives an historical account of Southern California corridos, but it also provides analysis of how the corridos are constructed by the authors. It shows the lyrical significance of corridos and not just the social importance. This source will help our group provide a more detailed account of what a corrido is, both historically and lyrically.
Hind, Emily. "Post-NAFTA Mexican Cinema, 1998-2002." Studies In Latin American Popular Culture 23.(2004): 96-111. Academic Search Premier. Web. 6 Apr. 2012.
This article describes the push for a more conservative production of films due to the push by both the U.S. and Mexican president at the time. What the push requires or seeks that the film industry creates is films that portray issues in a conservative manner like advocating for abstinence and preventing the mention of condoms. What this article allows us to see is the turn in how less corridor, especially narco-corrido films have been created because the content that most of these corridors depict are scenes, themes or issues that are not acknowledged or accepted by the ruling
government.
Jónsdóttir, Kristín Guðrún. "De Bandolero A Ejemplo Moral: Los Corridos Sobre Jesús Malverde, El Santo Amante De La Música. (Spanish)." Studies In Latin American Popular Culture 25.(2006): 25-48. Academic Search Premier. Web. 22 Mar. 2012.
The article raises the awareness of how the two forms of corridor—heroic and victim corridos—are corridos that each has their own independent style like image and language use as well as form. Besides pointing out the unique forms of corridos we hope to use this source in order to challenge or prove when we view corridos in Film. We will see if whether or not corridor films are restricted to fall under one of these two styles or does film incorporate both and if so, how?
Kantaris, Geoffrey. "Cinema And Urbanías: Translocal Identities In Contemporary Mexican Film." Bulletin Of Latin American Research 25.4 (2006): 517-527. Academic Search Premier. Web. 6 Apr. 2012.
This article raised the issue of how contemporary films have become more inclusive to the notion of portraying characters who are able to both embrace both the urbanization of Mexico as well as find acceptance to the Mexican rural, and in doing so films that adopt and present criteria like this are creating a national identity in film that allows for a rural and urban Mexican to live. Using this article we plan to us it in order to understand why some early corridor films have shown an embracement for the rural Mexican, and how that has transition to the urban as well as see if whether more recent corridor films have reflected a positive acceptance to both the urban and rural as a way to render a translocal Mexican identity.
Marsh, Hazel. "Writing Our History in Songs: Judith Reyes, Popular Music and the Student Movement of 1968." Bulletin of Latin American Research, Vol. 29 (2010): 144-59. Academic Search Premier.
The importance of this article to our paper is its focused topic over a specific history of corridos. More importantly the article shows how corridos, as a cultural aspect, changes along with Mexican culture. This article will give us a lot to explore concerning the history and character of corridos.
Nicolopulos, James. "The Heroic Corrido: A Premature Obituary?." Aztlan 22.1 (1997): 115. Academic Search Premier. Web. 6 Apr. 2012.
The article raises the notion that historical up rise of narco-corridos popularity due to commercialization as well as historic relevance. Using this article we plan to explain why as well in film, in the late nineties there is a great want for films that embody themes or story plots from the narco-corridos.
Paredes, Americo. “The Ancestry of Mexico’s Corridos: A Matter of Definitions.” The Journal of American Folklore, Vol. 76 (1963): 231-235. American Folklore Society. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/538524
Americo Paredes’ article gives important information concerning the history of corridos. Such information is helpful to our group, because a large chunk of our paper is over the history and importance of corridos. More importantly, this article gives counter examples and definitions to how Merle Simmons, another one of our sources, uses the term and defines what a corrido is, and how it came to be.
Stavans , Ilan. "Spanglish: Tickling the Tounge." World Literature Today 74 (2000): 555-558. Print.
This article brings more insight on the use of Spanglish. It is a more positive perspective than "So-Called Spanglish" and I think it will be useful to counter that article. It is very informative and helpful to understand the hybridity of Spanglish.
Otheguy, Ricardo , and Nancy Stern. "On So-Called Spanglish." International Journal of Bilingualism (2010): 85-100. Print.
This article refutes the idea of Spanglish and discusses reasons why or why not it is a real language. The article focuses on the language specifically and therefore could be useful when we are talking about the use of "So-Called Spanglish" in reference to corridos.
Ramsay, Paulette A. "History, Violence And Self-Glorification In Afro-Mexican corridos from Costa Chica De Guerrero." Bulletin Of Latin American Research 23.4 (2004): 446-464. Academic Search Premier. Web. 22 Mar. 2012.
This article point out the various styles of corridos that thrive in Mexico and in particular focuses on an area in Guerrero known as Costa Chica, where a diverse Mexican ethnic group thrives and as well creates corridos using various Afro styles of music into their corridor. We plan to use this source as means to show that corridos are very different from region to region. As well as show how historically the corridor music has undergone many transitions, depending on who influences the music.
Simmons, Merle. “The Ancestry of Mexico’s Corridos.” The Journal of American Folklore, Vol. 76 (1963): 1-15. American Folklore Society. Web. April 6
http://0www.jstor.org.dunnlib.simpson.edu/stable/538074
Merle Simmons article in The Journal of American Folklore, while published in 1963, gives insight into the history of Mexican corridos. Within our paper, a main focus is on the history of corridos, and I plan on potentially using this article to provide a more enlightened view on the history of corridos.
Woolsey, A. W. “A Contemporary Texas Tragedy Related in Two Mexican “Corridos”.” Hispania 28 (1945): 505-507. American Association of Teachers of Spanish and Portuguese. Web. April 6 http://0-www.jstor.org.dunnlib.simpson.edu/stable/333796
This article explores a specific event in history that shows how American and Mexican cultures dramatically clashed in Texas. Two corridos were created to signify the event. This particular source is important to our paper, because we want to explore how corridos were influenced by the United States.
Grovas, Rafael. “Caminos de Guanajuato.” Web. Youtube. http://youtu.be/PfjJiqkEivU.
These
four youtube clips are Corrido films, which I will use to demonstrate the
difference between the two in content and theme. These sections of the film
will help as evidence to what a corridor film is.
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