Erase una vez en hollywood luis martinez

#Erase una vez en hollywood luis martinez archive#

Of the many friends and colleagues who have also offered their criticisms, I wish to thank in particular the following: participants in the Mass Culture Workshop at the University of Chicago (1991вЂ“92), in the History-Political Science Workshop at Harvard University (fall 1994), and in the Latin American History Discussion Group at the University of California, Davis (spring 1996) Fernando CalderГіn, Jean Franco, Stuart Ewen, Glen Kuecker, Anne Rubenstein, Claudio Lomnitz-Adler, William Beezley, Mauricio Tenorio-Trillo, Jeremy Baskes, John Lear, Alex Saragoza, George YГєdice, and Juan Flores.

Information Agency, for his wit and wicked mouth, but especially for his accumulated personal archive.

#Erase una vez en hollywood luis martinez archive#

Ground films Federico Arana, for lending me numerous photographs and other materials from his private archive Andrew Paxman of Variety Carlos MartГnez Assad, IlГЎn Semo, and JosГ© Luis Reyna, for their early comments and encouragement Leticia Medina and JosГ© Enrique PГ©rez Cruz of the Archivo de la DifusiГіn Cultural, Universidad Nacional AutГіnoma de MГ©xico the CГЎmara Nacional de la Industria de Radio y TelevisiГіn, for its rich coffee and repeated access to its newsletter, though not, unfortunately, to its archives the people at Radio EducaciГіn, the Filmoteca de San Ildefonso, and Polygram Records the Sotomayor family, for access to various rock 'n' roll films, and, finally, to Pete Cecere of the U.S. From Mexico, I wish to extend my thanks in particular to the following people and institutions: the Reyes Mota family, for their love and generous hospitality over the years Manuel Ruiz, who generously lent his time and gave me access to his early rock 'n' roll collection RamГіn GarcГa, who also generously lent his time and his native rock collection Sergio GarcГa, for private screenings of various under. Their astute comments and insights, coupled with unwavering support for the project, are immensely appreciated. Of the many people who have contributed to the transformation of this thesis, I wish to thank first and foremost my dissertation committee: John Coatsworth, Friedrich Katz, Michael Geyer, and Leora Auslander. Invaluable institutional support during revisions has come from the University of California, Davis, the University of Puget Sound, and Georgetown University. I am deeply grateful to Harvard University for an Exchange Scholar Fellowship during 1994вЂ“1995, which provided the opportunity to use the library facilities and finish writing the dissertation. I was also fortunate to receive a teaching position at the Universidad de las AmГ©ricas in Mexico City, which allowed me to extend my original research schedule. Information Agency Fulbright grant, which I stretched to the best of my abilities. Funding for my stay in Mexico City during 1992вЂ“1994 came from a U.S. A predissertation Mellon Foundation grant funded research during the summer and fall of 1992.

Through the University of Chicago I received a summer travel grant from the Latin American Studies Center, which enabled me to do preliminary research in 1991. Therefore it is only appropriate that I acknowledge the support of a 1986 Walker Scholarship summer grant which allowed me to begin research on what eventually became my senior honors thesis at Colby. In a fundamental sense, the origins of this project date to my years as an undergraduate at Colby College. Refried Elvis: The Rise of the Mexican Counterculture.В Berkeley: University of California Press, c1999 1999.