<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0188-252X</journal-id>
<journal-title><![CDATA[Comunicación y sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Comun. soc]]></abbrev-journal-title>
<issn>0188-252X</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guadalajara, Departamento de Estudios de la Comunicación Social]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-252X2018000200033</article-id>
<article-id pub-id-type="doi">10.32870/cys.v0i32.6934</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Del encierro a la libertad: análisis de la espacialidad en Las amargas lágrimas de Petra von Kant y La pasión según Berenice]]></article-title>
<article-title xml:lang="en"><![CDATA[From Confinement to Freedom: Analysis of Spatiality in The Bitter Tears of Petra von Kant and The Passion of Berenice]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Maza Pérez]]></surname>
<given-names><![CDATA[Maximiliano]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Tecnológico de Monterrey  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2018</year>
</pub-date>
<numero>32</numero>
<fpage>33</fpage>
<lpage>54</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-252X2018000200033&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-252X2018000200033&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-252X2018000200033&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: El artículo presenta el análisis descriptivo de las estrategias de representación espacial utilizadas en Las amargas lágrimas de Petra von Kant de Rainer Werner Fassbinder y La pasión según Berenice de Jaime Humberto Hermosillo. El estudio se desarrolla en dos fases: puesta en escena y puesta en cuadro. Se analizan las funciones del paisaje cinematográfico y se explica la espacialidad o conjunto de significados expresados a través de los espacios presentados en cada filme.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This article presents the descriptive analysis of the strategies of spatial representation used in The Bitter Tears of Petra von Kant by Rainer Werner Fassbinder and The Passion of Berenice by Jaime Humberto Hermosillo. The study is developed in two phases: mise-en-scène and framing. The paper analyzes the functions of the cinematographic landscape and explains the spatiality or set of meanings expressed through the spaces shown in each film.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Rainer Werner Fassbinder]]></kwd>
<kwd lng="es"><![CDATA[Jaime Humberto Hermosillo]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[escena]]></kwd>
<kwd lng="es"><![CDATA[espacialidad]]></kwd>
<kwd lng="en"><![CDATA[Rainer Werner Fassbinder]]></kwd>
<kwd lng="en"><![CDATA[Jaime Humberto Hermosillo]]></kwd>
<kwd lng="en"><![CDATA[film]]></kwd>
<kwd lng="en"><![CDATA[scene]]></kwd>
<kwd lng="en"><![CDATA[spatiality]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bordwell]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Thompson]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Arte cinematográfico]]></source>
<year>2003</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[McGraw Hill-Interamericana]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Casetti]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[di Chio]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cómo analizar un film]]></source>
<year>2007</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chanan]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Latin American Movie Industry in the 90s. Representational Space in Recent Latin American Movie Industry]]></article-title>
<source><![CDATA[Estudios Interdisciplinarios de América Latina y el Caribe]]></source>
<year>1998</year>
<volume>9</volume>
<numero>1</numero>
<issue>1</issue>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Elsaesser]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Fassbinder&#8217;s Germany: History, Identity, Subject]]></source>
<year>1996</year>
<publisher-loc><![CDATA[Amsterdam ]]></publisher-loc>
<publisher-name><![CDATA[Amsterdam University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Escher]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Geography of Cinema - A Cinematic World]]></article-title>
<source><![CDATA[Erdkunde]]></source>
<year>2006</year>
<volume>60</volume>
<numero>4</numero>
<issue>4</issue>
<page-range>307-14</page-range></nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fernández Violante]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El melodrama, orígenes y tradición]]></article-title>
<source><![CDATA[Estudios cinematográficos]]></source>
<year>2000</year>
<volume>19</volume>
<page-range>32-7</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Riera]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Historia documental del cine mexicano, tomo 17, 1974-1976]]></source>
<year>1995</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Universidad de Guadalajara]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Riera]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Breve historia del cine mexicano, primer siglo, 1897-1997]]></source>
<year>1998</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Mapa]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grant]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Extraer el sentido de la realidad: &#8220;rechazo la tautología&#8221;]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Torres]]></surname>
<given-names><![CDATA[A. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rainer Werner Fassbinder]]></source>
<year>1983</year>
<page-range>74-89</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones JC]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Haralovich]]></surname>
<given-names><![CDATA[M. B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[All that Heaven Allows: Color, Narrative Space and Melodrama]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Lehman]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Close Viewings: An Anthology of New Film Criticism]]></source>
<year>1990</year>
<page-range>57-72</page-range><publisher-loc><![CDATA[Tallahassee ]]></publisher-loc>
<publisher-name><![CDATA[Florida State University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[La pasión según Berenice]]></source>
<year>1981</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Editorial Katún]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Higson]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Space, Place, Spectacle: Landscape and Townscape in the &#8216;Kitchen Sink&#8217; Film]]></article-title>
<source><![CDATA[Screen: Incorporating Screen Education]]></source>
<year>1984</year>
<volume>25</volume>
<page-range>2-21</page-range></nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Higson]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Landscapes of Television]]></article-title>
<source><![CDATA[Landscape Research]]></source>
<year>1987</year>
<volume>12</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>8-13</page-range></nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Knight]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[New German Cinema: Images of a Generation]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Wallflower Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="">
<source><![CDATA[Festival Internacional de Cine en Guadalajara]]></source>
<year>2017</year>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[MacKenzie]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[National and Transnational Cinemas - The Oberhausen Manifesto (West Germany, 1962)]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[MacKenzie]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film Manifestos and Global Cinema Cultures: A Critical Anthology]]></source>
<year>2014</year>
<page-range>152-3</page-range><publisher-loc><![CDATA[Berkeley ]]></publisher-loc>
<publisher-name><![CDATA[University of California Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[MacKenzie]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Third Cinemas, Colonialism, Decolonization, and Postcolonialism - Manifesto of the New Cinema Group (Mexico, 1961)]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[MacKenzie]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Film Manifestos and Global Cinema Cultures: A Critical Anthology]]></source>
<year>2014</year>
<page-range>209-10</page-range><publisher-loc><![CDATA[Berkeley ]]></publisher-loc>
<publisher-name><![CDATA[University of California Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Maza]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Miradas que se cruzan: el espacio geográfico de la frontera entre México y los Estados Unidos en el cine fronterizo contemporáneo]]></source>
<year>2014</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Bonilla Artigas Editores]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Neira Piñeiro]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Introducción al discurso narrativo fílmico]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Arco]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Segond]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El beso del vampiro]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Torres]]></surname>
<given-names><![CDATA[A. M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rainer Werner Fassbinder]]></source>
<year>1983</year>
<page-range>29-41</page-range><publisher-loc><![CDATA[Madrid ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones JC]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Soja]]></surname>
<given-names><![CDATA[E. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places]]></source>
<year>1996</year>
<publisher-loc><![CDATA[Malden ]]></publisher-loc>
<publisher-name><![CDATA[Blackwell Publishing]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Valdés Peña]]></surname>
<given-names><![CDATA[J. A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Jaime Humberto Hermosillo y su pasión por la libertad]]></article-title>
<source><![CDATA[Animal Político]]></source>
<year>2013</year>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villaseñor]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Jaime Humberto Hermosillo en el país de las apariencias]]></source>
<year>2002</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Cineteca Nacional]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Arthur]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Sirk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[A Time to Love and a Time to Die]]></source>
<year>1958</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Universal International Pictures]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Badín]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[La verdadera vocación de Magdalena]]></source>
<year>1972</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Cinematográfica Marco Polo, S. A.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barbachano]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Barbachano]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Encuentro inesperado]]></source>
<year>1993</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[CLASA Films Mundiales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Barbachano Ponce]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Confidencias]]></source>
<year>1982</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[CLASA Films Mundiales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dancigers]]></surname>
<given-names><![CDATA[Ó.]]></given-names>
</name>
<name>
<surname><![CDATA[Kogan]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Menasce]]></surname>
<given-names><![CDATA[J. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Buñuel]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Los olvidados]]></source>
<year>1950</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Ultramar Films]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fassbinder]]></surname>
<given-names><![CDATA[R. W.]]></given-names>
</name>
<name>
<surname><![CDATA[Fengler]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Fassbinder]]></surname>
<given-names><![CDATA[R. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Die bitteren Tränen der Petra von Kant]]></source>
<year>1972</year>
<publisher-loc><![CDATA[República Federal Alemana ]]></publisher-loc>
<publisher-name><![CDATA[Filmverlag der Autoren, Tango Film]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gou]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[eXXXorcismos]]></source>
<year>2002</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Jaime Humberto Hermosillo, Goukine, Resonancia]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Clandestino destino]]></source>
<year>1987</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[CLASA Films Mundiales]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[El aprendiz de pornógrafo (La tarea)]]></source>
<year>1989</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Jaime Humberto Hermosillo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Intimidades en un cuarto de baño]]></source>
<year>1991</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Jaime Humberto Hermosillo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Los nuestros]]></source>
<year>1970</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Jaime Humberto Hermosillo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Un buen sabor de boca]]></source>
<year>2017</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Jaime Humberto Hermosillo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
<name>
<surname><![CDATA[González de Alba]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[El malogrado amor de Sebastián]]></source>
<year>2006</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Producciones Alfa Audiovisual, S. A. de C. V.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hunter]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Sirk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[All That Heaven Allows]]></source>
<year>1955</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Universal International Pictures (UI)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hunter]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Sirk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Imitation of Life]]></source>
<year>1959</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Universal International Pictures (UI)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hunter]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Sirk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Magnificent Obsession]]></source>
<year>1954</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Universal International Pictures (UI)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lozoya]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[La pasión según Berenice]]></source>
<year>1976</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[CONACINE, S. A. de C. V.]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Märthesheimer]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Rohrbach]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Witte]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Fassbinder]]></surname>
<given-names><![CDATA[R. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Berlin Alexanderplatz]]></source>
<year>1980</year>
<publisher-loc><![CDATA[República Federal Alemana ]]></publisher-loc>
<publisher-name><![CDATA[Bavaria Film]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[McLernon]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Schidor]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Waynberg]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Fassbinder]]></surname>
<given-names><![CDATA[R. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Querelle]]></source>
<year>1982</year>
<publisher-loc><![CDATA[República Federal Alemana ]]></publisher-loc>
<publisher-name><![CDATA[Planet Film]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Navarro]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Hermosillo]]></surname>
<given-names><![CDATA[J. H.]]></given-names>
</name>
</person-group>
<source><![CDATA[El señor de Osanto]]></source>
<year>1972</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Estudios Churubusco]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pommer]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Murnau]]></surname>
<given-names><![CDATA[F. W.]]></given-names>
</name>
</person-group>
<source><![CDATA[Der letzte Mann]]></source>
<year>1924</year>
<publisher-loc><![CDATA[Alemania ]]></publisher-loc>
<publisher-name><![CDATA[Universum Film (UFA)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pommer]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Meinert]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Wiene]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Das Cabinet des Dr. Caligari]]></source>
<year>1920</year>
<publisher-loc><![CDATA[Alemania ]]></publisher-loc>
<publisher-name><![CDATA[Decla-Bioscop AG]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Zugsmith]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Sirk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Written on the Wind]]></source>
<year>1956</year>
<publisher-loc><![CDATA[Estados Unidos ]]></publisher-loc>
<publisher-name><![CDATA[Universal International Pictures (UI)]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
