Abstract
Using the definition of the border film genre, and concepts like space and place, this article will analyse how Maria Novaro’s films El jardin del Eden/ The Garden of Eden (1994) and Sin dejar huella/ Without a Trace (2000) helped destroying stereotypes that had been built in commercial movies during decades by creating, through characters and images, first the city of Tijuana as a mosaic, then the southern border of Mexico as a utopia; this will be done by analysing how she constructs the idea of region and regional identity by denying the homogeneous traces sustaining national identity.
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 callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
