Este libro habla de los varios aspectos de la vida de un pueblo de antaño. Su folklore, sus costumbres, su picardía, su sanidad, sus valores, su moralidad, y sobre todo habla del pensamiento de algunos de sus hombres. Un pueblo en donde todos se conocían y se trataban como familia, en donde no había ni secretos ni intimidades que se pudieran ocultar. Los personajes de Zambrano en estas crónicas son y fueron reales. He cambiado algunos de sus nombres por respeto y deferencia a sus memorias. Los sucesos que a ellos se atribuyen por lo general fueron ciertos, salvo que talvez algunos han podido ser un poco exagerados o embellecidos por las Fuentes que los proveyeron. Parte del lenguaje usado aquí podría ser crudo y tal vez ofensivo para algunas personas.
For more than a century, directors from both sides of the border have chosen Mexico as the location to create their cinematic art, leaving an indelible imprint on the imaginations of moviegoers and filmmakers worldwide. Now, for the first time, Made in Mexico: Hollywood South of the Border presents a comprehensive examination of more than one hundred Hollywood theatrical feature films made in Mexico between 1914 and the present day. Lavishly illustrated throughout, Made in Mexico examines how Hollywood films depicted Mexico and how Mexico represented itself in relation to the films shot on location. It pulls back the curtain on how Hollywood filmmakers influenced Mexican films and Mexican filmmakers influenced Hollywood. Listed chronologically and featuring cast, credits, synopsis, and contemporary reviews along with a production history for each entry, this book highlights the concept of “crossing borders ” in which artists from both nations collaborated with one another. Made in Mexico also provides a brief historical perspective on the aesthetics, economics, and politics of the film industries in each country, giving readers a glimpse of the external forces at play in the production of these films. With motion pictures permeating the cultural and historical landscape of both Mexico and the United States, this compulsively readable compendium demonstrates the far-reaching influences of the featured films on the popular culture of both nations.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
A group of Mexican-Americans are sent to San Quentin unjustly for the death of a man at Sleepy Lagoon. Based on the actual case and zoot suit riots of 1940's Los Angeles.
The 48th New York was a Union infantry regiment that served in the Department of the South when it attempted to capture Charleston, South Carolina, during the summer of 1863. Recognized for its political, strategic, and maritime value, Charleston was targeted by the North early in the war. The Union Army’s Department of the South and the Navy’s South Atlantic Blockading Squadron were tasked with its capture. Despite their respective attempts to seize the city in mid-1862 and early 1863, Charleston remained firmly in Confederate hands. In June of 1863, Brigadier General Quincy Gillmore was assigned command of the Department of the South. The new commander believed that in order to capture Charleston, he first had to seize Confederate-held Fort Wagner on the northern end of Morris Island. He claimed that he and his men could take Wagner in less than a week. It would ultimately take them two deadly months. This thesis details the history of the 48th New York, and its contributions and exploits during this campaign. It also analyzes the profound effect this campaign had upon the spirit and character of the regiment for the remainder of the war.
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