Contents -- Acknowledgments -- Introduction -- Critical Mappings -- Imagined Borders: Locating Chicano Cinema in America/América -- Moving from the Margin to the Center: Puerto Rican Cinema in New York -- Greater Cuba -- Drama Queens: Latino Gay and Lesbian Independent Film/Video -- Close Readings -- Crossing Invisible Borders: Ramón Menéndez's Stand and Deliver (1987) -- Reterritorialization in Recent Chicano Cinema: Edward James Olmos's American Me (1992) -- Ethnic Ingenuity and Mainstream Cinema: Robert Rodríguez's Bedhead (1990) and El Mariachi (1993) -- Flaming Latinas: Ela Troyano's Carmelita Tropicana: Your Kunst Is Your Waffen (1993) -- Docudrag, or "Realness" as a Documentary Strategy: Felix Rodriguez's One Moment in Time (1992) -- From Exile to Ethnicity: Nestor Almendros and Orlando Jiménez-Leal's Improper Conduct (1984) -- Media Destructionism: The Digital/Laser/Videos of Raphael Montañez Ortiz -- Collaborative Public Art and Multimedia Installation: David Avalos, Louis Hock, and Elizabeth Sisco's Welcome to America's Finest Tourist Plantation (1988) -- Mass Media, Site Specificity, and the U.S.-Mexico Border: Guillermo Gómez-Peña's Border Brujo (1988, 1990) -- The Forbidden Kiss: Raúl Ferrera-Balanquet and Enrique Novelo-Cascante's Mérida Proscrita (1990) -- (Re)constructing Chicana, Mestiza Representation: Frances Salomé España's Spitfire (1991) -- Distributors -- Contributors -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z.