Media @ McGill

Aprehendiendo al delincuente: Crimen y medios en América del norte

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Aprehendiendo al delincuente:  Crimen y medios en América del norte

Abstract:

For almost twenty years, researchers from the Centre for Research on North America (CISAN) at the National Autonomous University of Mexico (UNAM) have worked in close collaboration with scholars in the Department of Art History and Communications Studies (and one of its predecessor units, the Graduate Program in Communications) at McGill University. With this book, Media@McGill is happy to support the latest outcome of this collaboration. Co-published by Media@McGill and CISAN, and published in both hard copy and electronic form, Aprehendiendo al delincuente: Crimen y medios en América del norte, is edited by Dr. Graciela Martinez-Zalce (CISAN), Dr. Will Straw and Susana Vargas Cervantes (McGill).

In 2007, a Media@McGill conference on “Crime, Media and Culture” brought together scholars from across North America to address the relationship of media and crime. A subsequent conference at UNAM in Mexico City, on “Crimen, sociedad y medios in Norteamérica,” in 2010, forms the basis for this book. Various aspects of the interplay between crime and media are addressed here, from representations of sexuality in the Mexican tabloid press through the manner in which Canadian television programs portray threats to national security from countries to the south.

Table of Contents:

Presentación . . . . . . . . . . . . . . . 9

Introducción . . . . . . . . . . . . . . . 11

I EL CRIMEN NARRADO

Saydi Núñez Cetina | Peligrosidad, delito y justicia en el México posrevolucionario . . . . . . . . . . . . . . . 21

Susana Vargas Cervantes | El que ríe al último, ríe mejor: “mujercitos” en la nota roja durante los años setenta en México . . 35

Will Straw | Nota roja and journaux jaunes: Popular Crime Periodicals In Quebec and Mexico . . . . . . . . . . . . . . . 53

II EL CRIMEN FILMADO

Álvaro A. Fernández | Flores del mal en el cine mexicano. La devoradora criminal o el tipo clásico moderno . . . . . . . . . . . . . . . 71

Alanna Thain | Crime/Scene: Reanimating the Femme Fatale in David Lynch’s Hollywood Trilogy . . . . . . . . . . . . . . . 85

Bart Beaty | Hiding in Plain Sight: Masquerading Genre In David Cronenberg’s A History of Violence. . . . . . . . . . . . . . . 97

Víctor Manuel Granados Garnica | Sin City, la representación de la violencia . . . . . . . . . . . . . . . 115

Graciela Martinez-Zalce | Nadie sabe para quién trabaja: el crimen transfronterizo según la Canadian Broadcasting Corporation . . 127

III EL COTIDIANO CRIMINALIZADO

Natasha Tusikov | The Godfather Is Dead: A Hybrid Model of Organized Crime . . . . . . . . . . . . . . . 143

Silvia Elena Vélez Quero | Aproximaciones al consumo de drogas en Canadá. Comunidades, provincias, gobierno federal. ¿Violencia o negligencia? . . . . . . . . . . . . . . . 161

Blayne Haggart | North American Digital Copyright, Regional Governance And the Persistence of Variation . . . . . . . . . . . . . 179

Sobre los autores . . . . . . . . . . . . . . . 197