Advertisement

The Mexican Supernatural: Migration in Historical Reverse

  • Gabriel Eljaiek-Rodríguez
Chapter

Abstract

Eljaiek-Rodríguez analyzes the work of two iconic directors of Mexican horror cinema: Guillermo del Toro and Carlos Enrique Taboada. Selected films of these directors are read as complex systems of migrated images coming from diverse traditions. The author studies how del Toro’s films become migrating pieces in a global distribution circuit, as well as how Taboada’s films acquire physical and temporal mobility in local spaces. A discussion of the mobilization of cannibalism into the Mexican horror context concludes the chapter.

Bibliography

  1. Andrews, Evan. “10 Things You Should Know About the Donner Party.” History. 14 Apr. 2016. www.history.com/news/10-things-you-should-know-about-the-donner-party
  2. Bécquer, Gustavo Adolfo. Leyendas. Catedra, 2006.Google Scholar
  3. Beliveau, Ralph. “A Topology of Guillermo del Toro”. International Horror Film Directors, Global Fear. Intellect, 2017.Google Scholar
  4. Byron, Glennis. “La Llorona and KM31.” The Gothic Imagination. University of Stirling. 13 Mar. 2011. www.gothic.stir.ac.uk/blog/la-llorona-and-km31/
  5. Castro-Gómez, Santiago. “Historicidad de los saberes, estudios culturales y transdisciplinariedad: reflexiones desde América Latina.” Desafíos de la transdisciplinariedad. CEJA, 2002. 166–186.Google Scholar
  6. Davies, Ann. “Slime and Subtlety. Monsters in del Toro’s Spanish-Language Films.” The Supernatural Cinema of Guillermo del Toro. McFarland, 2015. 41–57.Google Scholar
  7. Fuchs, Cynthia. “We Are What We Are (Somos lo que hay).” Popmatters. 18 Feb. 2011. www.popmatters.com/137288-we-are-what-we-are-somos-lo-que-hay-2496075728.html
  8. García Canclini, Néstor. Hybrid Cultures. Strategies for Entering and Leaving Modernity. University of Minnesota Press, 1995.Google Scholar
  9. Greene, Doyle. Mexploitation Cinema. A Critical History of Mexican Vampire, Wrestler, Ape-Man and Similar Films, 1957–1977. McFarland & Company, 2005.Google Scholar
  10. Hegarty, Kerry. “Female Specters: The Gothic Horror Films of Carlos Enrique Taboada.” Flow Journal. 24 Feb. 2014. www.flowjournal.org/2014/02/female-specters-carlos-enrique-taboada/
  11. Hernandez-Rodriguez, R. Splendors of Latin Cinema. ABC-CLIO, 2010.Google Scholar
  12. Jacobs, W.W. “The Monkey’s Paw.” The Lady of the Barge and Others. 22 Apr. 2004. https://www.gutenberg.org/files/12122/12122-h/12122-h.htm
  13. Jackson, Kimberly. Gender and the Nuclear Family in Twenty-First-Century Horror. Palgrave Macmillan, 2016.Google Scholar
  14. Kohn, Eric. “‘We Are What We Are’ Director Jim Mickle and Jorge Michel Grau Discuss Remakes, Sequels and Why Their Movies Aren’t Really About Cannibals.” IndieWire. 31 May 2013. www.indiewire.com/2013/05/we-are-what-we-are-director-jim-mickle-and-jorge-michel-grau-discuss-remakes-sequels-and-why-their-movies-arent-really-about-cannibals-37968/
  15. Lennard, Dominic. Bad Seeds and Holly Terrors. The Child Villians on Horror Film. State University of New York Press, 2014.Google Scholar
  16. Likes: Guillermo del Toro: “Soy mexicano, he sido la otredad toda mi vida.” YouTube, uploaded by #0, 10 Oct. 2017. www.youtube.com/watch?v=XQfyk0CjJ5Y
  17. Méndez, Alfredo. “Díaz Ordaz engañó a la CIA: Doyle.” La Jornada. n.d. www.jornada.unam.mx/2008/10/03/index.php?section=politica&article=011n2pol
  18. Merish, Lori. “Cuteness and Commodity Aesthetics: Tom Thumb and Shirley Temple.” Freakery. Cultural Spectacles of the Extraordinary Body. New York University, 1996.Google Scholar
  19. Merrill, Tim, and Ramón, Miró. Mexico: A Country Study. Library of Congress, 1996.Google Scholar
  20. Morales, Carlos Ramón. “Algunas intuiciones sobre Carlos Enrique Taboada,” Distintas Latitudes. 10 Ago. 2009. https://distintaslatitudes.net/algunas-intuiciones-sobre-carlos-enrique-taboada
  21. Nelson, Victoria. Gothicka. Vampire Heroes, Human Gods, and the New Supernatural. Harvard University Press, 2012.Google Scholar
  22. Paz, Octavio. Los hijos del limo. Seix Barral, 1993.Google Scholar
  23. Poniatowska, Elena. La noche de Tlatelolco. Ediciones Era, 2014.Google Scholar
  24. Rubenstein, Anne. Bad Language, Naked Ladies, and Other Threats to the Nation: A Political History of Comics Books in Mexico. Duke University Press, 1998.Google Scholar
  25. Saldanha, Beatriz. “Reflexiones sobre lo femenino y lo sobrenatural en las películas de horror de Carlos Enrique Taboada”. Horrorfílmico. Aproximaciones al cine de terror en Latinoamérica y el Caribe. Isla Negra, 2012. 414–431.Google Scholar
  26. Sánchez Prado, Ignacio M. “Monstruos neoliberales. Capitalismo y terror en Cronos y Somos lo que hay”. Horrorfílmico. Aproximaciones al cine de terror en Latinoamérica y el Caribe. Isla Negra, 2012. 47–64.Google Scholar
  27. Scahill, Andrew. The Revolting Child in Horror Cinema. Youth Rebellion and Queer Spectatorship. Palgrave Macmillan, 2015.Google Scholar
  28. Shaw, Deborah. The three amigos. The transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. Manchester University Press, 2013.Google Scholar
  29. Sikorska, Beata, and Liberski, Pawel. “Human Prion Diseases: From Kuru to Variant Creutzfeldt-Jakob Disease”. Protein Aggregation and Fibrillogenesis in Cerebral and Systemic Amyloid Disease. Subcellular Biochemistry. Vol. 65. Springer Dordrecht, 2012. 457–496.Google Scholar
  30. Sondergard, Sidney L. “The Ambivalence of Creative Desire. Theogonic Myth and Monstrous Offspring.” The Supernatural Cinema of Guillermo del Toro. McFarland, 2015. 93–111.Google Scholar
  31. Trigo, Beatriz. “Reviewed Work: Cronos by Guillermo del Toro, Federico Luppi, Ron Pearlman.” Chasqui 30.1, May (2001): 176–178.CrossRefGoogle Scholar
  32. Woerner, Meredith. “For the Love of Monsters: An Insider Tour of Guillermo del Toro’s Bleak House before His LACMA Show.” Los Angeles Times. 31 July 2006. www.latimes.com/entertainment/herocomplex/la-et-hc-guillermo-del-toro-bleak-house-20160727-snap-story.html

Filmography

  1. Creature from the Black Lagoon. Dir. Jack Arnold. Universal Pictures, 1954.Google Scholar
  2. Cronos. Dir. Guillermo del Toro. Fondo de Fomento a la Calidad Cinematográfica, 1993.Google Scholar
  3. El espinazo del diablo. Dir. Guillermo del Toro. El Deseo, 2001.Google Scholar
  4. El laberinto del fauno. Dir. Guillermo del Toro. Estudios Picasso, 2006.Google Scholar
  5. El libro de piedra. Dir. Carlos Enrique Taboada. Producciones AGSA, 1969.Google Scholar
  6. El libro de piedra. Dir. Julio Cesar Estrada. Hilo Negro Films, 2009.Google Scholar
  7. Geometría. Dir. Guillermo del Toro. 1987.Google Scholar
  8. Hasta el viento tiene miedo. Dir. Carlos Enrique Taboada. Tauro Films, 1968.Google Scholar
  9. Hasta el viento tiene miedo. Dir. Gustavo Moheno. Hilo Negro Films, 2007.Google Scholar
  10. Insidious. Dir. James Wan. Alliance Films, 2010.Google Scholar
  11. La maldición de Nostradamus. Dir. Federico Curiel. Estudios América, 1962.Google Scholar
  12. Más negro que la noche. Dir. Carlos Enrique Taboada. Corporación Nacional Cinematográfica (CONACINE), 1975.Google Scholar
  13. Más negro que la noche. Dir. Henry Bedwell. Celeste Films, 2014.Google Scholar
  14. Rosemary’s Baby. Dir. Roman Polanski. Paramount Pictures, 1968.Google Scholar
  15. Shrek. Dir. Andrew Adamson, Vicky Jenson. DreamWorks, 2001.Google Scholar
  16. Sinister. Dir. Scott Derrickson. Alliance Films, 2012.Google Scholar
  17. Somos lo que hay. Dir. Jorge Michel Grau. IFC Films, 2010.Google Scholar
  18. The Bad Seed. Dir. Mervyn LeRoy. Warner Bros., 1956.Google Scholar
  19. The Exorcist. Dir. William Friedkin. Warner Bros., 1973.Google Scholar
  20. The Green Inferno. Eli Roth. Worldview Entertainment, 2013.Google Scholar
  21. The Hill Have Eyes. Dir. Wes Craven. Blood Relations Co., 1977.Google Scholar
  22. The Shape of Water. Dir. Guillermo del Toro. TSG Entertainment, 2017.Google Scholar
  23. The Silence of the Lambs. Dir. Jonathan Demme. Strong Heart/Demme Production, 1991.Google Scholar
  24. The Strain. Cr. Guillermo del Toro, Chuck Hogan. Mirada, 2014–2017.Google Scholar
  25. The Texas Chainsaw Massacre. Dir. Tobe Hooper. Vortex, 1974.Google Scholar
  26. Veneno para las hadas. Dir. Carlos Enrique Taboada. Instituto Mexicano de Cinematografía (IMCINE), 1984.Google Scholar
  27. We Are What We Are. Dir. Jim Mickle. Belladonna Productions, 2013.Google Scholar
  28. Zombie 2: The Dead are Among Us. Dir. Lucio Fulci. Variety Film, 1979.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Gabriel Eljaiek-Rodríguez
    • 1
  1. 1.The New School of AtlantaAtlantaUSA

Personalised recommendations