Cover

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Title Page, Copyright Page

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Contents

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Preface

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pp. vii-ix

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Acknowledgments

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pp. xi-xi

I would like to thank the many people who have supported this project in different ways. I owe a great debt to the DePaul Research Council and the DePaul Humanities Center. I would like to thank . . .

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Introduction Welcome to the Alamo Hollywood on the Border

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pp. 1-25

On January 26, 2006, the United States Border Patrol, working with agents from the Drug Enforcement Agency, discovered what many claim was the . . .

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Chapter 1 How the Southwest Was Won; Border Westerns and the Southern Frontier

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pp. 27-82

The western frontier has always been a defining symbol of the United States, signifying the wide and open range and the opportunity to . . .

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Chapter 2 “The Imaginary Illegal Alien”; Hollywood Border Crossers and Buddy Cops in the 1980s

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pp. 83-108

Hollywood films from the 1980s are so distinctive that we can identify them immediately, partly for their aesthetic but mostly for their mood, . . .

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Chapter 3 The “Narc” in All of Us; Border Media and the War on Drugs

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pp. 109-143

On February 10, 1986, just two months before Reagan signed a national security directive designating international drug trade a national security . . .

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Chapter 4 Urban Frontiers; Border Cinema and the Global City

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pp. 145-181

In March 2006, Angelinos staged the largest demonstration in the history of the city against a bill that would further demonize undocumented immigrants . . .

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Conclusion: Frontier Myths on the Line; Border Cinema Redux

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pp. 183-195

Since the beginnings of cinema, Hollywood has depicted the U.S-Mexico border as a lawless place ruled by a dark mythology, and home to every . . .

Notes

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pp. 197-210

Filmography

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pp. 211-216

Bibliography

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pp. 217-225

Index

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pp. 227-235