focused on the city not merely as a setting for films but almost as a protagonist in its own right, whose conditions both create meaning for and receive meaning from the human lives lived in its midst. Through close readings of fourteen recent critically acclaimed films, this book watches Mexican cinema in this process of producing cultural meaning through its creation, enaction, and interpretation of the idea of Mexico City.David William Foster analyzes how Mexican filmmakers have used Mexico City as a vehicle for exploring such issues as crime, living space, street life, youth culture, political and police corruption, safety hazards, gender roles, and ethnic and social identities. The book is divided into three sections. "Politics of the City" examines the films Rojo amanecer, Novia que te vea, Frida, naturaleza viva, and Sexo, pudor y lágrimas. "Human Geographies" looks at El Callejón de los Milagros, Mecánica nacional, El castillo de la pureza, Todo el poder, and Lolo. "Mapping Gender" discusses Danzón, De noche vienes, Esmeralda, La tarea, Lola, and Entre Pancho Villa y una mujer desnuda.

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