<?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>1870-3550</journal-id>
<journal-title><![CDATA[Norteamérica]]></journal-title>
<abbrev-journal-title><![CDATA[Norteamérica]]></abbrev-journal-title>
<issn>1870-3550</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Centro de Investigaciones sobre América del Norte]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1870-35502021000100351</article-id>
<article-id pub-id-type="doi">10.22201/cisan.24487228e.2021.1.459</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Young Undocumented Migrants In Contemporary Fiction Films: Guten Tag, Ramón and Ya no estoy aquí]]></article-title>
<article-title xml:lang="es"><![CDATA[Los migrantes indocumentados jóvenes en películas contemporáneas de ficción: Guten Tag, Ramón y Ya no estoy aquí]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Quintana Vallejo]]></surname>
<given-names><![CDATA[Ricardo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma de México  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2021</year>
</pub-date>
<volume>16</volume>
<numero>1</numero>
<fpage>351</fpage>
<lpage>372</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1870-35502021000100351&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1870-35502021000100351&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1870-35502021000100351&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The last fifteen years have seen a rise in critically-acclaimed fiction films depicting undocumented migration from and through Mexico. By analyzing two illustrative examples, Guten Tag, Ramón (Good Day, Ramón) (2013) and Ya no estoy aquí (I&#8217;m No Longer Here) (2019), this article uses the framework of the coming-of-age genre to dissect the characteristics of this kind of contemporary cinematography, thus pondering its inner-workings and appeal. Moreover, the author contrasts different aspects of the critical reception of these films in order to examine why they are met with both punitive disdain and enthusiastic celebration. The two films&#8217; differences in tone show how the themes of migration, poverty, and violence can be interpreted in various ways to call attention to their urgency. From the lighthearted humor of Good Day, Ramón to the poignant solemnity of I&#8217;m No Longer Here, the cinematographic genre, so close to the archetypal plot of coming-of-age narratives, denounces both the indifference of the Mexican middle class and the xenophobia that seeks to undermine the right to migrate.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En los últimos quince años se ha observado que cada vez hay más películas de ficción reconocidas por la crítica que describen la migración indocumentada desde y a través de México. Por medio del estudio de dos casos ilustrativos (Guten Tag, Ramón -2013- y Ya no estoy aquí -2019-), este artículo utiliza el marco de referencia del género coming of age para analizar las características de este tipo de cine contemporáneo, y así revisar su funcionamiento interno y su atractivo. Además, el estudio contrasta diferentes aspectos de la recepción crítica de estas cintas, con el fin de examinar por qué son objeto tanto de desdén punitivo como de celebraciones entusiastas. Las diferencias de tono entre estos dos filmes muestran cómo los temas de la migración, la pobreza y la violencia pueden interpretarse de diversas formas que sirven para llamar la atención sobre la urgencia de atenderlos. Desde el humor desenfadado de Guten Tag, Ramón hasta la conmovedora solemnidad de Ya no estoy aquí, este género cinematográfico, tan cercano a la trama arquetípica de las narrativas del mencionado coming of age, denuncia tanto la indiferencia de la clase media mexicana como los escenarios xenófobos que buscan socavar el derecho a migrar.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Mexico-U.S.]]></kwd>
<kwd lng="en"><![CDATA[Mexico-Germany]]></kwd>
<kwd lng="en"><![CDATA[undocumented migration]]></kwd>
<kwd lng="en"><![CDATA[migration film]]></kwd>
<kwd lng="en"><![CDATA[contemporary film]]></kwd>
<kwd lng="es"><![CDATA[México-Estados Unidos]]></kwd>
<kwd lng="es"><![CDATA[México-Alemania]]></kwd>
<kwd lng="es"><![CDATA[migración indocumentada]]></kwd>
<kwd lng="es"><![CDATA[película migratoria]]></kwd>
<kwd lng="es"><![CDATA[película contemporánea]]></kwd>
</kwd-group>
</article-meta>
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