PVCC Title
Students | Employees | Visitors | Alumni | PVCC Home
Disclaimer

HUM 213

Paradise Valley Community College
Phoenix, Arizona
Outline

  1. THE SILENT FILM ERA: 1896-1929
    1. First period (1896-1914): birth of the documentary initiated by the Revolution of 1910 (Memorias de un Mexico, 1950)
    2. Second period (1916-1930): emergence of the fictional narrative film (El automovil gris, 1919)

  2. ORIGIN, DEVELOPMENT AND CRISIS OF THE SOUND CINEMA :
    1929-64
    1. First sound films (1929-31)
      1. Hollywood-produced ?Spanish-Language Films?
      2. Santa (1931): the first Mexican film produced with synchronized sound
    2. Sergei Eisenstein in Mexico (1930-32)
      1. Eisenstein’s contribution to the formation of a well-defined national film aesthetic
      2. National and international impact of Eisenstein’s Mexican experiment
      3. Que Viva Mexico! (1931): the unfinished film
    3. Pre-industrial Sound Cinema (1932-37)
      1. Capitalistic-inspired diversity
        1. Film as pure entertainment (Sagrario, 1933)
        2. State-sponsored films to promote quality cinema with a marked social context (Redes,1934); (Vamonos con Pancho Villa, 1935)
        3. Expressionistic/avant-garde film (El misterio del rostro palido, 1935)
        4. Film combining commercial and aesthetic demands (La mujer del puerto, 1933); (Janitzio, 1934)
      2. Development of antagonistic aesthetic tendencies
        1. Liberal nationalism
        2. Conservative nationalism
      3. Onset of state involvement (blending protectionism with nationalism) in the Mexican film industry
        1. Alliance between cinema workers and the national workers’ union (UTECM)
        2. The first state-financed film studio in Mexico—Cinematografa Latino Americana S.A. (CLASA)
      4. Mexico’s earliest film auteur: Fernando de Fuentes
        1. Alla en el Rancho Grande (1936): the impact of a Mexico’s first original genre—the comedia ranchera.
    4. Birth, Peak, And Consolidation Of The Mexican Film Industry (1938-1953)
      1. Growth and Regional (Latin America) Dominance of Mexican Film Industry During the Golden Age
        1. U.S. trade policy favoring Mexico over Argentina
        2. State Protectionism
          1. establishment of Banco Nacional Cinematografico
          2. establishment of Pelmex (state-run production/distribution company
          3. income tax exemption for film industry
        3. Spanish Civil War
        4. Aid from Hollywood during WWII
      2. The Directors
        1. The collaboration between Emilio ?el Indio? Fernandez and Gabriel Figueroa (cinematographer)
        2. Alejandro Galindo
        3. Ismael Rodriguez
      3. The Actors
        1. Women: Delores del Rio, Maria Felix, Ninon Sevilla, Sara Garcia (?Mother of Mexico?), Katy Jurado, Lupe Velez, Sylvia Pinal
        2. Men: Pedro Armendariz, Jorge Negrete, Pedro Infante,
        3. Comedians: Mario Mareno (Cantinflas), German Valdes (Tin Tan), Adalberto Martinez (Resortes)
      4. The Genres
        1. Ranch comedy (comedia ranchera)
        2. Cabaret melodrama (cabaretera)
        3. Urban (working class) melodrama
    5. The Transition (and Stagnation) Years (1955-64)
      1. Causes for the crisis
        1. Economic policies of the Cortinez and Mateos administrations
        2. Monopoly in the exhibition sector
        3. Competition from television
        4. Concentration of production and direction among select producers and directors/closed-door policy of the director’s guild (STPC)
        5. Resistance to change—repeating the formulas of established genres
      2. Auteur cinema
        1. Luis Alcoriza (Tiburoneros, 1962; Tarahumara, 1964)
        2. Luis Bunuel (refer to section III)
      3. Independent/experimental/marginal cinema
        1. Benito Alazraki (Raices, 1953)
        2. Carlos Velos (Torero, 1956)
        3. Roberto Gavaldon (Macario, 1959)
  3. LUIS BUNUEL
    1. Bunuel’s Career In Spain, France, And The United States (Un Chien Adalou)
    2. Bunuel’s Mexican Films (Los olvidados, Viridiana, El angel exterminador,)
      1. Themes: frustration and instinct (desire, hunger, love) versus convention (social, religious, and moral norms)
      2. Surrealism and the importance of dreams
      3. Subversion of genre expectations
  4. CRISES AND RENOVATIONS (1965-present)
    1. Towards an Independent Cinema—the Need for Change
      1. Establishment of Mexico’s first film school: Centro Universitario de Estudios Cinematograficos (CUEC)
      2. The Nuevo Cine (society of film critics)
      3. The Cinemateca de Mexico (film archive)
      4. First Contest of Experimental Cinema
      5. Emerging independent filmmakers
        1. Paul Leduc (Reed: Mexico Insurgente, 1970)
        2. Felipe Cazals (Canoa, 1975)
        3. Jaime Humberto Hermosillo (Dona Herlinda y su hijo, 1984)
        4. Arturo Ripstein (El Imperio de la fortuna, 1985)
    2. The Echeverria Sexinio (1970-76): Building a State Cinema
      1. Plan for the restructure of the Mexican Film Industry: Accomplishments
        1. State ownership of Banco Nacional Cinematografica, the Compania Operadora de Teatros (vast exhibition chain), and the Churubusco studios
        2. Mixed public and private ownership of Peliculas Mexicanas and Cimex (distributors) and Procinemex (promotional firm)
        3. State-owned production companies (CONACINE, CONACITE I, CONACITE II)
        4. Purchase of the America studios
        5. Formation of second film school, the Centro de Capacitacion Cinematografica (CCC)
        6. Formation of Cineteca Nacional (film archive)
      2. Call for Change
        1. Upgrading quality of films
        2. Producing films of social criticism and revolutionary zeal
        3. Strive-ing to reach a wider audience
      3. Exploration of New Themes
        1. Human sexuality
        2. Roles and conduct of women
        3. Chicano movement
        4. Political corruption
    3. The Jose Lopez Portillo Sexinio (1976-82): The Breakdown and Reversal of Policy
      1. Return of filmmaking to the private sector
      2. Appointment of Margarita Lopez Portilla, as head of the Directorate of Radio, Television, and Cinema, to oversee breakdown of the film industry
      3. Dissolution of Banco Cinematografico
      4. Destruction of the Cineteca Nacional by fire
    4. Independent Production and New Support Systems (1983-present)
      1. Creation of IMCINE
      2. Third Experimental Film Competition
      3. Traditional private producers continued filming formula pictures

SYLLABUS, v.1.0
May 2, 1997
An examination of the primary themes, genres, directors, personalities, and crises that collectively represent Mexican cinema, paying special attention to two outstanding eras—the "Golden Age of Mexican Cinema" and the independent cinema of the 70s—and one distinctive director, Luis Bunuel. Prerequisites: none


Course Texts and Materials

* Paranagura, Paulo Antonio, ed.. Mexican Cinema. British Film Institute, 1995.
* Edwards, Gwynne. The Discreet Art of Luis Bunuel. London, Boston: Marion Boyars, 1982.
* Luis Bunuel: Two Films (The Exterminating Angel; Los Olvidados). London: Lorrimer, 1984.

Week 1 *
*


*		 Introduction to the class
TOPICS
The Silent Cinema

READINGS:
Mexican Cinema, “The Silent Cinema”, pp. 63-78
The International Film Industry, pp. 245-250
A History of Narrative Film, “Mexican Cinema,” pp.880-882
Week 2 * SHOW:
El automovil gris, directed by Enrique Rosas and Joaquin Coss
Memorias de un Mexico
Week 3 *




*		 TOPICS:
Hollywood’s “Hispanic films” and “Spanish Language” films
Sergei Eisenstein in Mexico
Pre-industrial sound cinema

READINGS:
Mexican Cinema, “Origins, Development, and Crisis of the Sound Cinema,” pp.79-83
Mexican Cinema, “The Impact of Rancho Grande,” pp. 128-132
Week 4 * SHOW:
Alla en el Rancho Grande (comedia ranchera), directed by Fernando de Fuentes
Week 5 *






*		 TOPICS:
The Golden Age of Mexican Film
* The Genre System
* The Studio System
* The Directors
* The Star System

READINGS:
Mexican Cinema, “Origins, Development, and Crisis of the Sound Cinema,” pp.84-93
Mexican Cinema, “The Studios,” pp.133-144
World Cinema Since 1945, pp. 447-460
Week 6 *



*		 SHOW:
Maria Candelaria, directed by Emilio “el Indio” Fernandez (comedia ranchera)

READINGS:
Mexican Cinema, “Emilio Fernandez: A Look Behind the Bars,” pp. 179-192
Mexican Postcards, “Delores del Rio,” pp 71-87
Week 7 *


*		 SHOW:
Nosotros los pobres, directed by Ismael Rodriguez (urban melodrama)

READINGS:
Mexican Cinema, “Melodrama: The Passion Machine: Ismael Rodriguez,” pp.161-162
Week 8 *



*





*		 TOPICS:
The Golden Age of Mexican Film
* The Comedians

READINGS:
Mexican Cinema, “The Burlesque Comedy: Cantinflas, Tin Tan, Resortes and the Others,” pp.166-168
Mexican Postcards, “Cantinflas,” pp.88-105
Mexican Postcards, “Tin Tan,” pp. 106-118

SHOW:
snippets from Bustillo Oro’s Ahi esta el detalle (There’s the Detail, 1949) in which Cantinflas plays the peladito (street bum)

snippets from Gilberto Martinez Solares’ Calabacitas tiernas (Tender Little Pumpkins) in which Tin Tan plays the pachucho (zoot-suiter)
Week 9 *



*




*		 TOPICS:
Luis Bunuel and surrealism
The transition and stagnation years in Mexican cinematic history

READINGS:
Mexican Cinema, “Luis Bunuel in Mexico,” pp. 202-208
The Discreet Art of Luis Bunuel, “Introduction,” pp.11-38;
The Discreet Art of Luis Bunuel, “Un Chien Andalou,” pp. 39-60

SHOW:
Un Chien Andalou
Week 10 *


*



*		 TOPICS:
Luis Bunuel and neorealism

READINGS:
The Discreet Art of Luis Bunuel, “Los olvidados,” pp. 87-111
Luis Bunuel: Two Films, “Los olvidados,” pp.107-114

SHOW:
Los olvidados
Week 11 *



*




*		 TOPICS:
Luis Bunuel and Christianity
Theme: anti-Catholicism

READINGS:
The Discreet Art of Luis Bunuel, “Viridiana,” pp. 141-168
The Great Spanish Films, “Viridiana,” pp. 13-16
Spanish Film Under Franco, pp. 11-12; 72-77

SHOW:
Viridiana
Week 12 *



*





*		 TOPICS:
Luis Bunuel and the Middle Class
Theme: anti-Bourgeoisie

READINGS:
The Discreet Art of Luis Bunuel, “El Angel Exterminador,” pp. 4-19
Luis Bunuel and the Crises of Desire, “El Angel Exterminador,” pp. 71-89
Luis Bunuel: Two Films, “El Angel Exterminador,” pp.107-114

SHOW:
El Angel Exterminador
Week 13 *


*




*		 TOPICS:
The movement towards an independent/auteur cinema (1965-present)

READINGS:
Mexican Cinema, “Crises and Renovations,” pp. 94-99
Mexican Cinema, “One Generation—Four Filmmakers: Cazals, Hermosillo, Leduc, and Ripstein,” pp. 209-223

SHOW:
Reed: Mexico Insurgente (1970), directed by Paul Leduc
Week 14 *


*


*		 TOPICS:
The Echeverria Period (1970-76)

READINGS:
Mexican Cinema, “Crises and Renovations,” pp. 99-104

SHOW:
Canoa (1975), directed by Felipe Cazals
Week 15 *


*


*		 TOPICS:
The Breakdown: the Jose Lopez Portillo sexinio (1976-82)

READINGS:
Mexican Cinema, “Crises and Renovations,” pp. 104-109

SHOW:
Dona Herlindo y su hijo (1984), directed by Jaime Humberto Hermosillo
Week 16 *


*


*		 TOPICS:
Independent Production and New Support Systems (1983-present)

READINGS:
Mexican Cinema, “Crises and Renovations,” pp. 104-109

SHOW:
El imperio de la fortuna (1985), directed by Arturo Ripstein

Grading: 90-100% (A), 80-89% (B), 70-79% (C), 60-69% (D), below 60% (F)
PROJECT PERCENT OF GRADE
1. Unannounced Readings/Film Quizzes 24%
2. Midterm 24%
3. Research Essay/Film Analysis 24%
4. Final 24%
5. Discretionary* 24%
04%
Total 100%
* Discretionary includes attendance, class participation, classroom decorum, and improvement.


Classroom Conduct, Attendance, and Policies

This class will be conducted as if you are attending a department meeting at work. I take on the role of your Supervisor/Facilitator. It is your responsibility to be prepared (read assignments, bring paper, pencils, assignments, etc.), to be on time, to participate in the daily discussion, and to show respect to your fellow classmates/employees.

Attendance is your responsibility. Please notify me if you are planning to be absent (so I can make arrangements for you to receive any handouts for the class). Just as you must attend work regularly to keep your job, you will need to attend class regularly if you hope to succeed in this course.


Disclaimer

Course content may vary from this outline to meet the needs of this particular group.

SIGNIFICANT MEXICAN FILMS


Director Date Film Length Significance Genre
Rosas, Enrique
Coss, Joaquin		 1919 El Automovil Gris
(The Grey Automobile)		 117 The last film to have a documentary feel in the style of the first Mexican cinema (documentary, newsreel); it signifies the transition from non-fiction to fiction film; it embodies the influence of both Italian (films d'art) and US (Griffith's Intolerance) filmmaking. Silent
Bunuel , Luis 1928 Un Chien Andalou
(An Andalusian Dog)		 20 Bunuel's first film, a surrealist movie co-directed and written with Salvador Dali. Surrealist
Eisenstein, Sergei 1931 Que viva Mexico!
(Thunder Over Mexico) (Eisenstein in Mexico)		 The prominent Soviet director's unfinished film which enabled the development of a national aesthetic. Documentary
Moreno, Antonio 1931 Santa 81 The first Mexican film to use synchronized sound. Romantic melodrama; first example of the fallen woman cabaretera (B-girl) genre
Zinnaman , Fred /Emilio Gomez 1934 Redes
(The Wave) (Net)		 65 The first film produced with the cooperation of the Mexican government; considered a model for the cinema of social criticism. Historical melodrama
Navarro, Carlos 1934 Janitzio 56 As with Redes, this film is considered a model for the cinema of social criticism. Historical melodrama
de Fuentes,
Fernando		 1935 Vamonos con Pancho Villa!
(Let's Go with Pancho Villa)		 92 The Mexican cinema's first big epic; the film's financial failure determined the failure of the politics promoted by a liberal and self-critical nationalism. Historical melodrama
de Fuentes ,
Fernando		 1936 Alla en el Rancho Grande
(Out at big Ranch)		 100 The first great commercial success of Mexican cinema in Latin America.; film inaugurated the comedia ranchera, a distinctly Mexican genre that reflects the values and customs of a ranching economy. Comedia ranchera
Director Date Film Length Significance Genre
Fernandez , Emilio "el Indio" 1943 Maria CandelariaFlor Silvestre
(Wild Flower)		 101/94 Maria Candelaria! became the first Mexican film widely known in Europe (winning the grand prize at the Cannes and Locarno Film Festivals) and marked the first of many collaborations with Gabriel Figueroa, cinematographer; Dolores del Rio (who had already become a star in Hollywood) and Pedro Armendariz, stars. Comedia ranchera, domestic melodrama
Galindo, Alejandro 1945 Campeon sin corona
(Champion without a Crown)		 117 Acclaimed for authentic portrayal of poor urban neighborhoods, the people who populate them, and the street language spoken. This film takes up a common theme of Mexican intellectual life - the national inferiority complex in which Mexico considers its Anglo neighbors superior. Features David Silva. Urban melodrama; urban counterpart of the comedia ranchera
Fernandez , Emilio "el Indio" 1947 Rio Escondido
(Hidden River)		 96 Film, starring Maria Felix, influenced by Eisenstein's unfinished Que viva Mexico! And Fred Zinneman's Redes. Known for its depictions of Mexican landscapes. Domestic melodrama
Rodriguez , Ismael 1947 Nosotros los pobres
(We the Poor)		 128 Mexican film's box-office champion. A classic popular melodrama of the urban underclass, this film became the cinematic source material for an entire genre of films set in the outlying quarters of the city. Sequel: Ustedes los ricos (You Rich Folks. Features Pedro Infante, Katy Jurado. Urban melodrama
Solares, Gilberto Martinez 1948 Calabacitaas tiernas
(Tender Little Pumpkins)		 101 Features one of the great comic actors of Mexican film, German Valdes ("Tin Tan"), as a pachuco or zoot-suiter. Comedy
Gout, Alberto 1949
1951		 Aventurera
Sensualidad		 111
101		 Both films illustrate the shift in representations of women that took place in Mexico's Golden Age; features the Cuban dancer Ninon Sevilla. Cabaretera
Bunuel , Luis 1950 Los Olvidados
(The Young and the Damned)		 81 A film which shows many of the aesthetic and ideological principles of Italian neorealism. Winner of best direction prize at Cannes Film Festival; scripted by Luis Alcoriza. Urban melodrama
Toscano, Salvador 1950 Memorias de un Mexico
(compiled by Carmen Toscano, his daughter		 A documentary of newsreel footage shot by Salvador Toscano, compiled by Toscano's daughter, representing 20 years of film. Historical documentary
Director Date Film Length Significance Genre
Bunuel, Luis 1952 El
(This Strange Passion) (Torment)		 Scripted by Luis Alcoriza Melodrama with Bunuel's typically surrealistic touch
Alazraki, Benito 1953 Raices 103 A quality film (about Mexico's Indian heritage) that attracted international attention and praise. Historical
Velo, Carlos 1956 Torero! 80 A film recounting one day in the life of the bullfighter Luis Procuna. The interludes about the early life of the bullfighter are historical reconstructions. Biography
Bunuel , Luis 1958 Nazarin Bunuel's ultimate insult to Christianity; winner of Special Jury Prize at Cannes Film Festival. Melodrama
Galvadon, Roberto 1959 Macario Oscar nominated film, photographed by Gabriel Figueroa; One of the purest cinematic examples of what is called "magical realism." Magical realism
Bunuel , Luis 1961 Viridiana 90 Bunuel's ultimate insult to Christianity and Fascism; co-winner of Palme d'Or (Grand Prize) at Cannes Film Festival; banned by Spanish dictator Franco. Melodrama
Galvadon, Roberto 1961 Rosa Blanca
(The White Rose)		 100 Banned in Mexico in 1972, this film remains one of the most notable cases of censorship in Mexico (it broached a topic in Mexican historyÑthe period in the 30s when vast tracts of agricultural land were appropriated by powerful oil interestsÑimmune to criticism and consequently considered taboo by filmmakers). Melodrama
Alcoriza, Luis 1962 Tiburoneros
(Shark Fisherman)		 94 A film which challenged the conventional cinematic stereotype that the city is sinful and the province virtuous. Melodrama
Bunuel , Luis 1962 El Angel Exterminador
(The Exterminating Angel)		 91 Bunuel's ultimate insult to conventional haute bourgeois morality. Surrealist comedy of manners
Alcoriza, Luis 1964 Tarahumara One of the few features in the history of Mexican cinema to explore profoundly the social world of an indigenous people, the Tarahumaras. The director combines both fictional and documentary elements. Documentary
Director Date Film Length Significance Genre
Bunuel , Luis 1965 Simon del Desierto
(Simon of the Desert)		 42 Bunuel's serious condemnation of Christian asceticism Short film
Leduc, Paul 1971 Reed: Mexico insurgente
(Reed: Insurgent Mexico)		 111 Leduc's first feature; historical Biography
Ripstein, Arturo 1972 El castillo de la pureza
(The Castle of Purity)		 116 Theme: paternalism in Mexico Melodrama
Cazals , Felipe 1975 Canoa 115 Lynching of four Univeristy of Puebla employees; winner Special Jury Prize at Berlin Film Festival. Documentary
Cazals, Felipe 1975 El Apando
(Solitary)		 88 Film provoked scandal; prison closed. Melodrama
Hermosillo , Jaime Humberto 1975 La pasion segun Berenice
(The Passion According to Berenice)		 102 Questioning of traditional Mexican female sexuality. Melodrama
Cazals, Felipe 1976 Las Poquianchis
(Miserere)		 110 subversion of the cabaretera genre; three sisters murder prostitutes in their bordello. Historical melodrama
Ripstein, Arturo 1977 El lugar sin limites
(The Place Without Limits)		 110 Indictment of machismo. Melodrama
Ripstein, Arturo 1978 Cadena Perpetua
(In For Life)		 95 Ripstein's best film; theme of police and judicial corruption. Film noir
Hermosillo , Jaime Humberto 1984 Dona Herlinda y su hijo
(Dona Herlinda and her Son)		 First openly gay film in the history of the Mexican cinema. Melodrama
Leduc, Paul 1984 Frida, naturaleza viva
(Frida)		 108 Film about life of Mexican artist Frida Kahlo. Biography
Ripstein, Arturo 1985 El imperio de la fortuna
(The Empire of Fortune)		 135 A surrealistic adaptation of Juan Rulfo's script, "El Gallo de Oro;" film received international acclaim. Melodrama
Arau, Alfonso 1991 Como agua para chocolate
(Like Water for Chocolate)		 116 Won Oscar for Best Foreign Film Melodrama
Rotberg, Dana 1992 Angel de Fuego
(Angel of Fire)		 90 Comment on religious fanaticism and moral hypocrisy touching on questions of incest and the oppression of women in Mexico City. Melodrama






BIBLIOGRAPHY

Berg, Charles Ramirez. Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983. Austin:
University of Texas, 1992.
Cook, David A. A History of Narrative Film. New York: Norton, 1996.
Edwards, Gwynne. The Discreet Art of Luis Bunuel: A reading of his films. London, Boston: Marion
Boyars, 1982.
Higginbotham, Virginia. Spanish Film Under Franco. Austin: University of Texas Press, 1988.
Katz, Ephraim. The Film Encyclopedia. New York: HarperCollins, 1994.
Luhr, William, ed. World Cinema Since 1945. New York: Ungar, 1987.
Luis Bunuel: Two Films (The Exterminating Angel; Los Olvidados). London: Lorrimer, 1984.
Monsivais, Carlos. Mexican Postcards. London: Verso, 1997.
Mora, Carl J. Mexican Cinema: Reflections of a Society (1896-1988). Berkeley: University of
California, 1989.
Paranagua, Paulo Antonio, ed. Mexican Cinema. British Film Institute, 1995.
Sandro, Paul. Luis Bunuel and the Crises of Desire. Columbus: Ohio State University, 1987.
Schwartz, Ronald. The Great Spanish Films: 1950-1990. Metuchen, N..J., Scarecrow, 1991.
Slide, Anthony. The International Film Industry: A Historical Dictionary. New York: Greenwood Press,
1989.

SELECTED READINGS

Subject Pages Source



Bunuel, Luis 72-77; 11-12 Spanish Film Under Franco
Mexican Cinema (Golden Age to the present) 447-465 World Cinema Since 1945
Bunuel, Luis 644-653 A History of Narrative Film
Mexican Cinema 880-882 A History of Narrative Film
Mexican Cinema 245-250 The International Film Industry: A Historical Dictionary
Bunuel, Luis 13-16 (Viridiana) The Great Spanish Films: 1950-1990
Bunuel, Luis 23-50 (Un Chien Andalou); 71-89 (El Angel Exterminador) Luis Bunuel and the Crises of Desire
Bunuel Luis 4-19 89 (El Angel Exterminador); 107-114 (Los Olvidados) Luis Bunuel: Two Films (The Exterminating Angel; Los Olvidados)
Bunuel Luis 9-38 (Bunuel); 39-60 (Un Chien Andalou); 87-111 (Los Olvidados); 113-139 (Nazarin); 141-168 (Viridiana); 169-194 89 (El Angel Exterminador) The Discreet Art of Luis Bunuel: A reading of his films
Dolores del Rio; Maria Candelaria 71-87 Mexican Postcards
Cantinflas 88-105 Mexican Postcards
Tin Tan 106-118 Mexican Postcards



FILMS OF LUIS BUNUEL

1928 Un Chien Andalou
1930 L'Age d'or
1932 Les Hurdes (Tierra sin pan)
1947 El gran casino
1949 El gran calavera
1950 Los Olvidados
1951 Susana
1951 La hija del engano
1952 Subida al cielo
1952 Robinson Crusoe
1952 Una mujer sin amor
1953 La ilusion viaja en tranvia
1953 El
1953 El bruto
1954 Cumbres borrascosas
1955 Ensayso de un crimen: la vida criminal de Archibaldo de la Cruz
1955 El rio y la muerte
1956 La mort en ce jardin
1956 Cela s'Appele L'Aurore
1959 Nazarin
1960 La Fievre monte a El Pao
1960 La joven
1961 Viridiana
1962 El angel exterminador
1964 Le jouranl d'une fennme de chambre
1965 Simon del desierto
1967 Belle de jour
1969 La via lactea
1970 Tristiana
1972 Los disceretos encantos de la burgesia
1974 Cet obscur objet du desir


<< GO BACK << GO TO INTERNATIONAL STUDIES HOMEPAGE
Last updated: May 27, 2005
Paradise Valley Community College- URL-http://www.pvc.maricopa.edu
© 2005 Maricopa County Community College District. All Rights Reserved.
Please send your questions and comments via email to Michele Marion at michele.marion@pvmail.maricopa.edu