Abstract
:Until the late 1980s, love in revolutionary epics followed distinctly national imperatives, comparative similarities existing at a superficial level. Not until Luis Puenzo's Old Gringo (1989) and Alfonso Arau's Como Agua Para Chocolate (1992) would films of the Revolution offer truly transnational stories, ones involving love in time of war.
Full Text 
Sign-in/Register to access full text options
Sign-in/Register to access full text options 
Published version (
Free)
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
